■plo\o°' 


i THE  J.  PAUL  GETTY  MUSEUM  LIBRARY 


I 

I 


A 


NEW  TREATISE 


ON 


"]hE  jV^DERN  jV^ETHODS  OF 
(arson  Jinxing 


(SECOND  EDITION) 


By  a.  /a.  /aarton 

Author  of 

THE  PHOTO-OLEOGRAPH  PROCESS;  THE  ART  OF  PAINTING 
PHOTO-OLEOGRAPHS  IN  OIL  OR  WATER  COLORS,  AND 
THE  ART  AND  PROCESSES  OF  CERAMIC 
PHOTOGRAPHY. 


COPYRIGHT. 


BLOOMINGTON,  ILLINOIS 
U . S . A . 

1905 


A'\  ' A 


} ' 


Fantagraph  Ffg.  tit  Sta.  Co. 
Bloomington,  III. 


THE  J.  PAUL  GETTY  CENllR 
UBRARY 


PREFACE. 


'P  VERY  progressive  and  up-to-date  photographer  who  de- 
sires  to  select  the  best  and  most  capable  printing  pro- 
cess for  his  work,  will  naturally  weigh  and  compare  the 
simplicity  and  facility  of  the  operations  involved  in  the 
various  printing  processes,  and  the  stability  and  intrinsic 
value  of  the  final  results,  before  he  will  choose  or  settle 
down  to  any  one  method. 

As  a rule,  the  professional  takes  up  photography  for  its 
results,  and  is  not  imbued  with  much  ardor  to  enter  upon  a 
course  of  laboratory  experiments,  but  wishes  to  accomplish 
his  aim  by  the  quickest  and  most  practical  methods  available. 

The  Carbon  Process  of  today  is  simplicity  itself,  a fact 
that  ought  to  be  known  by  every  photographer,  to  whom  the 
virtues  and  simplicity  of  this  beautiful  process  must  appeal. 

It  is  a sad  fact,  but  an  undeniable  truth,  that  to  be  con- 
fronted with  a faded  and  yellow  photograph,  (which  is  get- 
ting to  be  a matter  of  frequent  occurrence,)  is  a source  of 
great  mortification  to  the  photographer  whose  name  is  asso- 
ciated with  or  appears  on  the  mount  of  such  a picture. 

If  we  look  at  the  work  of  the  leading  professionals  of  to- 
day, we  find  that  the  pictures  they  stake  their  reputation  on, 
are  printed  in  carbon.  It  is  also  a notable  fact  that  the  work 
intended  for  all  permanent  exhibits,  salons,  art  galleries,  etc., 
or  pictures  for  historical  purposes,  will  not  be  accepted  un- 
less they  are  printed  in  carbon. 

It  is  the  indisputable  permanency  of  carbon  pictures,  that 
appeals  with  irresistible  force  to  every  professional  or  ama- 
teur photographer  who  has  the  good  and  reputation  of  the 
profession  at  heart. 


4 


Preface. 


The  improved  papers  and  materials  now  so  readily 
obtainable,  eliminate  the  greater  part  of  the  difficulties  en- 
countered by  the  carbon  printers  of  former  years.  The  im- 
provements in  materials  are  most  noticeable  in  the-  delicacy 
and  richness  of  tone  and  the  artistic  beauty  imparted  to  the 
pictures  by  the  various  surface  textures  of  the  supports  now 
in  use. 

The  great  advantages  and  supremacy  of  the  modern  car- 
bon process  in  its  present  state  of  perfection,  is  now  univer- 
sally recognized  by  the  profession,  the  world  over. 

In  the  following  pages,  I will  try  and  give  the  result  of 
many  years  of  practical  experience ; and  that  of  other  work- 
ers whom  I have  come  in  contact  with  during  my  long  career 
as  a professional  carbon  printer.  I will  give  all  there  is  to 
be  known  about  the  process,  and  will  endeavor  to  make  this 
the  best  and  most  practical  treatise  of  the  kind,  ever  pub- 
lished. 

Fraternally, 

A.  M.  Marton. 


TABLE  OF  CONTENTS. 


PART  I. 

CHAPTER  I.  Page 

The  Introduction 9 

CHAPTER  II. 

A Brief  Recapitulation  of  the  Entire  Carbon  Process  12 

CHAPTER  III. 

Words  and  Terms  used  in  the  Carbon  Process 14 

CHAPTER  IV. 

The  Work  Rooms,  Arrangement  of  Light,  etc 20 

CHAPTER  V. 

« 

The  Carbon  or  Pigment  Tissue. — Its  Condition  and  Appearance — 

Its  Printing  Qualities 23 

CHAPTER  VI. 

Bichromate  of  Potash. — Bichromate  of  Ammonia. — Bichromate  of 
Sodium. — Bichromate  Poisoning 26 

CHAPTER  VII. 

The  Bichromate  Bath.—  Formulae  for  Special  Purposes. — Bath  for 
Carbon  V'ignette 28 

CHAPTER  VIII. 

Practical  Notes  on  the  Various  Chemical  Constituents  of  the  Bichro- 
mate Bath 36 

CHAPTER  IX. 

The  Squeegee,  its  Construction  and  Use. — Rubber  Cloth  and  Thin 
Transparent  Celluloid 39 

CHAPTER  X. 

Sensitizing  the  Tissue. — The  Varous  Methods  in  Use 41 

CHAPTER  XI. 

Drying  the  Sensitive  Carbon  or  Figment  Tissue.— The  Various  De- 
vices and  Methods. — Apparatus  for  Rapidly  Drying  Carbon  Tis- 
sue.— Tissue  for  immediate  use. — Marten’s  New  Rapid  Method.  48 

CHAPTER  XII. 

Care  of  the  Sensitive  Tissue. — Remarks 56 

PART  II. 

CHAPTER  I. 

The  Negative.— Quality  and  Style.— Prisms  and  Reversing  Mirrors..  61 


6 


Table  of  Contents. 


CHAPTER  II.  Page 

Stripping  and  Reversing  Negatives  made  on  Ordinary  Dry  Plates. — 
Reversing  and  Transferring  the  Image  to  another  Plate  by 
Contact 66 

CHAPTER  III. 

The  Make-ready  or  Preparing  the  Negative  for  Printing. — The  Safe 
Edge 74 

CHAPTER  IV. 

The  Photometer. — Marton’s  Photometer 78 

CHAPTER  V. 

Printing  Operations.— Finding  the  Speed  of  a Negative 82 

CHAPTER  VI. 

The  Continuing  Action  of  Light. —Theory  of  the  Latent  Image  and  its 
Development 87 


PART  III. 

CHAPTER  I. 

The  Single  Transfer  Process.  — Preliminary  Remarks.— Single  Trans- 
fer Supports. — Systematic  arrangement  of  Trays,  Tanks  and 
Developing  Apparatus  91 


CHAPTER  II. 

The  Transfer,  or  Mounting  the  Exposed  Tissue  upon  Supports  for 
Development.  — The  Transferring  Machine.— Temperature  and 
Climatic  Conditions 97 

CHAPTER  III. 

The  Hot  Water  Supply 106 

CHAPTER  IV. 

Development. — Preliminary  Remarks. — The  Development.  — The 
Reduction  of  Over-printed  Carbon  Pictures. — Carbon  Printing  in 
Hot  Weather 108 


CHAPTER  V. 

Marton’s  Perfection  Developing  Tray. — The  Vertical  Developing 
Tank  and  its  Advantages  and  use  for  the  Development  of  Carbon 
Pictures 117 


CHAPTER  VI. 

The  Development  of  Carbon  or  Pigment  Pictures  upon  Heavy  Cellu- 


loid, Porcelain  or  Opal  Glass  126 

CHAPTER  VII. 

Carbon  Printing  in  Hot  Weather 129 


CHAPTER  VIII. 

The  use  of  Acids  and  Alkalies  in  Development.  — General  Remarks.  132 


Table  op  Contents. 


7 


CHAPTER  IX.  Page 

The  Reduction  of  Carbon  Pictures. — The  Alum  Bath. — Cleaning 
Solutions. — Finishing ; 138 

CHAPTER  X. 

The  Double  Transfer  Process. — Waxing  Solutions 143 

CHAPTER  XI. 

Opal  and  Ground  Glass  Temporary  Supports 147 

CHAPTER  XII. 

Double  Transfer  Pictures  From  Polished  Glass  for  Pictures  with  a 
Brilliant  Surface 150 

CHAPTER  XIII. 

Transfer  to  Dry  Collodion  Plates,  for  Pictures  with  a High  Gloss  ...  154 

CHAPTER  XIV. 

The  Wet  Process. — With  Collodion  Film. — Mounting  the  Exposed 
Tissue  for  Development 157 

CHAPTER  XV. 

The  Final  Transfer  From  a Flexible  Support. — The  Final  Supports..  161 

CHAPTER  XVI. 

Final  Transfer  from  Glass  or  Opal  Plates 166 

CHAPTER  XVII. 

Mounting  and  Finishing.— The  Card  Mounts.— Spotting  and  Color- 
ing.— Enameling  Carbon  Prints.  — Imitation  of  Burnt-in 
Enamels 170 

CHAPTER  XVIII. 

Carbon  Pictures  Upon  Ivory,  and  Imitation  Opal  Supports.— Carbon 
Pictures  Without  Transfer. — Pigment  Pictures  upon  Canvas  as 
a basis  for  Painting  in  Oil  Colors 175 

PART  IV. 

CHAPTER  I. 

Carbon  Positives  on  Glass. — Preliminary  Remarks 181 

CHAPTER  II. 

The  Preparation  of  Glass  Plates  for  Window  Transparencies. —Lan- 
tern Slides  and  Negatives 183 

CHAPTER  III. 

Window  Transparencies  in  Monochome  and  Colors  by  Superposi- 
tion of  various  Pigment  films 186 

CHAPTER  IV. 

The  Lantern  Slide 190 

CHAPTER  V. 

Toning  and  Intensifying  Carbon  Pictures  and  Transparencies. — Local 
Toning 194 


Table  op  Contents. 


CHAPTER  VI.  Page 

The  Reproduction  of  Negatives  from  Carbon  Positive  Transparencies  198 

CHAPTER  VII. 

Carbon  Enlargements  by  Artificial  Light  and  the  Solar  Camera. — 
The  Negative. — The  Enlarging  Lantern. — The  Solar  Camera. . ..202 

CHAPTER  VIII. 

Failures. — Their  Cause  and  Remedy— Conditions  of  Permanency.  .206 


PART  V. 
The  Appendix. 


CHAPTER  I. 

Carbon  Tissue. — The  Requirements  for  its  Manufacture  in  the 
Studio 214 


CHAPTER  II. 

The  Choice  of  Pigments  or  Coloring  Matter. — Description  of  Pig- 
ments   217 

CHAPTER  III. 

The  Manufacture  of  Carbon  Tissue  in  the  Studio 222 

CHAPTER  IV. 

The  Gelatine  Compound. — Mixing  the  Pigments  or  Coloring  Matter. 

— Black  Transparency  Tissue. — Graphite  Tissue. — Tissue  for 
Transparencies  and  Lantern  Slides.— White  Tissue. — Poly- 
chrome Tissue 225 


CHAPTER  VI. 

Preparing  the  Pigment  Compounds 234 

CHAPTER  VII. 

Coating  the  Paper  With  the  Pigmented  Jelly. — The  Coating  Machine 
— Daylight  Tissue 236 

CHAPTER  VIII. 

A Brief  History  of  the  Carbon  Process 242 

CHAPTER  IX. 

Patent  Specification  of  Swan’s  Carbon  Process,  etc 245 

CHAPTER  X. 

Improvements  of  Swan,  Johnson,  Sawyer  and  Lambert  257 


The  Modern  Methods  op  Carbon  Printing. 


Part  1. 


CHAPTER  I. 


THE  introduction. 

I ’'O  the  discoverer  of  the  use  of  carbon  as  a coloring  mat- 
ter,  whoever  he  may  have  been,  the  world  owes  a debt 
of  gratitude;  for  the  history  of  all  past  ages,  from  the  remot- 
est periods  of  antiquity  up  to  the  present  day,  has  been  writ- 
ten in  this  imperishable  substance. 

The  characters  of  the  ancient  documents,  so  highly  treas- 
ured for  their  great  antiquity ; many  of  them  dating  back  to 
the  early  dawn  of  history,  forty  or  fifty  centuries  ago,  were 
written  in  carbon,  and  some  of  them  are  almost  as  readily 
deciphered  today,  as  they  were  at  the  time  of  their  writing. 

The  Chinese  claim  to  have  a written  history  of  their 
people  and  empire,  bordering  back  onto  the  dim,  gray  ages 
of  pre-historic  man,  which,  of  course,  was  written  in  Chinese 
ink,  a substance  composed  of  the  purest  carbon  obtainable. 
The  above  facts  ought  to  be  a sufficient  recommendation  for 
the  employment  of  carbon  as  a coloring  matter  in  photog- 
raphy. 

From  the  earliest  days  of  the  process,  up  to  the  present 
time,  it  has  been  the  desire  of  many  eminent  amateur  and 
professional  photographers,  to  invent  a process  that  would 
produce  photographic  impressions  that  would  be  imperish- 
able and  absolutely  proof  against  the  ravages  of  time. 


10 


The  Modern  Methods  op  Carbon  Printing. 


In  the  modern  carbon  or  pigment  process,  this  has  been 
accomplished  beyond  all  expectation ; and  in  many  respects, 
the  results  aimed  at  by  the  early  workers  in  this  field  of  pho- 
tography, have  been  greatly  surpassed. 

Prompted  by  a desire  to  discover  a process  that  would 
yield  really  permanent  results,  the  Duke  of  Luynes,  France, 
in  1858,  offered  a reward  of  2,000  francs  for  the  invention 
of  a photographic  process,  by  which  could  be  produced,  pho- 
tographs that  would  be  as  permanent  and  imperishable  as 
printer’s  ink.  This  stimulated  the  experimental  work  in  car- 
bon printing,  and  resulted  in  many  valuable  discoveries  and 
improvements  of  the  process  in  the  following  years.  Long 
since  then,  the  carbon  process  has  advanced  from  the  experi- 
mental stage  to  a state  of  perfection  and  practicability  that 
brings  it  to  the  foremost  rank  of  all  photographic  printing 
processes,  and  is  now  universally  recognized  as  the  leading 
process  and  used  as  a standard  of  comparison  whenever 
reference  is  made  to  artistic  qualities  or  undaunted  perma- 
nence. 

The  name  “carbon”  has  been  erroneously  applied  to  all 
pictures  made  by  this  process.  “Pigment  process”  is  prob- 
ably the  most  proper  application  for  the  reason  that  a greater 
per  cent  of  the  pictures  are  now  made  in  various  pigments, 
instead  of  carbon  or  lampblack.  The  purest  carbon  obtain- 
able as  a coloring  matter  is  lampblack  or  India  ink.  This 
was  at  first  employed  exclusively  in  the  manufacture  of  car- 
bon tissue,  and  for  that  reason  this  process  of  printing  was 
called  the  “Carbon  Process.”  While  carbon  is  the  most 
important  and  reliable  coloring  matter  available  for  this  pur- 
pose, any  suitable  pigment  or  coloring  matter  such  as  Vene- 
tian red,  Van  Dyke  brown.  Sepia,  etc.,  may  be  used,  hence 
the  more  modern  name,  “Pigment  Process.” 

The  photographic  image  composing  the  carbon  picture  is 


The  Modern  Methods  of  Carbon  Printing. 


11 


without  a doubt  absolutely  permanent,  as  far  as  the  coloring 
matter  is  concerned,  which  then  places  the  perishability  of 
carbon  pictures  entirely  upon  the  stability  of  the  support.  Of 
these,  there  are  now  such  a variety,  that  there  need  be  no 
difficulty  in  selecting  one  that  will  be  equal  in  stability  to  the 
pigment  used. 


12 


The  Modern  Methods  op  Carbon  Printing. 


CHAPTER  II. 


A BRIEF  recapitulation  OF  THE  CARBON  PROCESS. 

I 'O  convey  a general  idea  of  the  work  or  methods  em- 
“*■  ployed  in  the  production  of  carbon  pictures,  without 
studying  the  process  at  length,  I will  give  a brief  recapitula- 
tion of  the  manipulations  and  working  details  involved  in 
carrying  out  the  process. 

A compound  of  gelatine  and  sugar  is  charged  with  a 
coloring  matter,  such  as  lampblack,  India  ink,  or  any  other 
suitable  pigment,  and  is  spread  in  a uniform  coating  over  a 
smooth  sheet  of  paper.  When  dry,  the  pigment  paper  or 
Carbon  Tissue,  as  it  is  usually  called,  is  immersed  for  a given 
length  of  time  in  a solution  of  bichromate  of  potash,  which 
renders  it  sensitive  to  light  and  capable  of  receiving  an  im- 
print from  a negative.  As  soon  as  the  tissue  is  dry  it  is 
ready  to  be  printed  upon,  in  the  same  manner  as  on  printing 
out  paper  with  the  exception  that  we  cannot  observe  the 
progress  of  printing  by  inspection.  The  light  passing  through 
the  negative  has  a hardening  effect  on  the  bichromated  gela- 
tine, and  leaves  no  visible  imprint  upon  the  film,  by  which 
to  judge  the  exposure,  and  consequently  it  must  be  gauged 
or  measured  by  the  aid  of  an  actinometer,  or  exposuremeter. 

There  are  two  different  methods  of  making  carbon  pic- 
tures,— ^the  single  and  double  transfer  methods ; the  former 
is  by  far  the  easier  and  most  simple  process,  but  unless  the 
negatives  have  been  corrected,  the  image  will  be  reversed. 
This  reversal  formerly  proved  to  be  a great  detriment  to  the 
process,  and  caused  it  to  be  looked  upon  as  an  inferior 
method. 


The  Modern  Methods  of  Carbon  Printing. 


13 


But  with  the  improvements  in  making-  reversed  nega- 
tives, which  are  now  in  common  use  among-  carbon  printers, 
this  process  is  almost  universally  employed  for  pictures  with 
a matt  surface,  for  which  it  is  especially  well  adapted. 

The  process  of  development  in  brief,  consists  in  immers- 
ing the  tissue  in  cold  water  until  it  begins  to  flatten  out,  when 
it  is  immediately  brought  in  contact  with  some  sort  of  a 
support,  such  as  paper,  celluloid,  or  opal  glass,  and  squeezed 
into  intimate  contact  therewith. 

After  it  has  been  allowed  to  rest  for  a short  time  under 
slight  pressure,  the  support  and  adhering  tissue  are  im- 
mersed in  warm  water,  which  in  a few  moments  dissolves  the 
gelatine,  and  allows  the  paper  to  be  stripped  from  the  tissue, 
leaving  the  pigmented  film  firmly  adhering  to  the  new  sup- 
port. 

The  surface  of  the  tissue  proper  is  now  exposed  to  the 
action  of  the  warm  water,  which  immediately  dissolves  and 
washes  away  the  soluble  or  unaffected  parts  of  the  gelatine 
film,  not  acted  upon  by  light,  and  thus  causes  the  latent  im- 
age to  gradually  appear  from  beneath  the  mass  of  pigmented 
gelatine. 

The  Double  Transfer  Process  involves  one  more  opera- 
tion which  is  strictly  necessary  to  produce  correct  or  non- 
reversed  pictures;  such  as  landscapes,  buildings,  interiors, 
etc.,  from  ordinary  or  non-reversed  negatives. 

The  developing  manipulations  proper  are  practically  the 
same  as  for  single  transfer.  The  only  difference  is  that  the 
tissue  bearing  the  latent  image  is  first  transferred  to  a tem- 
porary or  intermediate  support,  such  as  opal  glass,  zinc, 
plain  glass,  or  a heavy  flexible  paper.  From  these  it  is  trans- 
ferred to  the  final  support,  which  again  reverses  the  image 
and  brings  it  into  its  correct  position ; this  involves  the  ma- 
nipulations from  which  the  process  takes  its  name — double 
transfer. 


14 


The  Modern  Methods  op  Carbon  Printing. 


CHAPTER  III. 


WORDS  AND  TERMS  USED  IN  CARBON  PRINTING MATERIAL 

AND  REQUISITES  USED  IN  THE  PROCESS. 

Carbon. — The  carbon  used  in  this  process  is  the  black 
coloring  matter  employed  in  the  manufacture  of  tissue; 
which  is  lampblack  or  pure  carbon. 

Carbon  Tissue. — A paper  coated  with  a compound  made 
up  of  gelatine,  sugar  and  lampblack. 

Pigment  Tissue. — A paper  coated  with  a pigmented  gela- 
tine compound. 

Transparency  Tissue. — A paper  coated  with  a gelatine 
compound  having  an  excess  of  finely  divided  coloring  mat- 
ter, such  as  filtered  India  ink. 

Sensitizing  Bath. — A solution  of  bichromate  of  potash  or 
ammonia,  used  to  make  the  tissue  sensitive  to  light. 

Exciting  or  Sensitizing  Carbon  Tissue. — Immersing  car- 
bon paper  into  a solution  of  bichromate  of  potash  or  am- 
monia. 

Actinometer. — A small  instrument  used  for  measuring 
the  time  of  exposure,  or  registering  the  action  of  light  upon 
sensitive  carbon  tissue  when  exposed  under  a negative. 

Safe  Edge. — -Usually  a mars  made  of  an  opaque  paper, 
of  some  non-actinic  color,  such  as  red,  yellow  or  green ; 
with  an  opening  of  the  size  and  shape  of  the  picture  desired. 

Pressure  Frame. — A printing  frame  of  any  description 
used  for  printing  carbon  pictures. 

Continuous  Action  of  Light. — A peculiar  property  of 
bichromated  gelatine,  is  the  continuous  action  or  insolubili- 


The  Modern  Methods  op  Carbon  Printing. 


15 


zation  that  goes  on  after  the  sensitive  film  has  been  exposed 
to  light  under  a negative.  This  hardening  action  goes  on 
in  the  dark  after  the  tissue  has  been  removed  from  the  nega- 
tive, and  is  greatly  stimulated  by  heat  and  moisture. 

Single  Transfer  Process. — A method  of  developing  car- 
bon pictures,  necessitating  but  one  transfer. 

Double  Transfer  Process. — A process  of  developing  pic- 
tures upon  a temporary  or  intermediate  support  from  which 
they  are  again  transferred  to  another  or  final  support. 

Temporary  Supports. — Paper,  zinc,  opal  and  plain  glass, 
when  waxed,  are  used  for  temporary  supports  in  the  dou- 
ble transfer  process. 

Development. — The  process  of  clearing  or  freeing  the 
latent  image  of  the  superfluous  gelatine  and  pigment,  that 
had  not  been  affected  by  the  action  of  light,  with  hot  water. 

Reticulation. — The  appearance  of  a fine  black  net-work 
over  portions  and  sometimes  the  entire  surface  of  the  picture. 

Granularity. — Coarse  and  grainy  appearance  of  the  pic- 
ture. 

Insolubility. — The  tissue  has  lost  the  property  of  being 
any  longer  soluble  in  hot  water. 

Fixing  or  Hardening. — The  film  is  hardened  or  made  in- 
soluble in  a solution  of  alum,  formalin,  or  sulphate  of  alum- 
inum. 

Reversed  Negatives. — Negatives  having  the  image  re- 
versed by  means  of  a prism  or  reversing  mirror ; or  the  film 
of  an  ordinary  negative  is  inverted,  for  the  purpose  of  giving 
correct  picures  by  the  single  transfer  process. 

Inverted  Prints. — Pictures  made  by  the  single  transfer 
process,  from  ordinary  non-reversed  negatives. 

Prism. — An  optical  instrument  used  in  front  of  a lens 
to  invert  the  image  of  a negative  which  is  intended  to  be  used 
for  single  transfer  pictures. 


16 


The  Modern  Methods  of  Carbon  Printing. 


Reversing  Mirror. — A mirror  silvered  on  an  optically 
plane  surface;  used  in  front  of  the  lens  for  the  purpose  of 
reversing  the  image  of  a negative,  for  single  transfer  print- 
ing. 

Polychrome. — A positive  composed  of  several  films  of 
different  colors,  accurately  registered  so  that  one  color  blends 
into  the  other  and  forms  a picture  in  the  colors  of  nature. 

Carbon  Reducihe. — A reducing  agent  used  to  clear  up 
dark  or  over  printed  carbon  pictures. 

Antichrome. — A chemical  compound  used  to  clear  up  and 
eliminate  all  traces  of  bichromate  remaining  in  the  film, 
before  or  after  development.  The  best  known  preparation 
to  give  brilliancy  and  pureness  of  tone  to  carbon  pictures. 

Accelorine. — A chemical  preparation  added  to  the  bichro- 
mate bath  that  imparts  better  keeping  qualities  to  the  tissue 
and  renders  it  readily  soluble  in  water  of  a medium  tempera- 
ture. It  also  has  the  property  of  greatly  reducing  the  con- 
tinuous action  of  light  in  exposed  tissue  and  imparts  a greater 
brilliancy  to  the  tone  of  the  picture. 

Chromic  Sensitizer. — A new  sensitizer  used  for  tissue 
wanted  for  immediate  use  or  for  hot  weather  printing. 

Celluloid. — Used  as  a support  for  pictures  with  a matt 
surface.  It  is  made  in  several  tints  and  grades  of  thickness 
lo/ioo,  15/00,  and  20/100,  in. ; in  sheets  20x50  in. 

Alba  Plates. — White  enameled  plates,  with  a surface 
closely  resembling  celluloid  or  porcelain. 

Opal  or  Poreclain  Glass. — Opal  glass  is  fused  with  either 
an  oxide  of  zinc  or  tin,  and  closely  resembles  porcelain.  It 
is  obtainable  both  with  a ground  or  a polished  surface.  The 
ground  surface  lends  a beautifully  soft,  matt  finish,  to  the 
carbon  picture. 

Superimposing  Films. — Transferring  and  developing 
several  films  of  different  colors,  one  over  the  other,  causing 


The  Modern  Methods  op  Carbon  Printing. 


17 


them  to  blend  together  and  thus  producing  pictures  in  sev- 
eral different  colors. 

Vertical  Developing  Tank. — A tank  in  which  carbon 
prints  are  suspended  in  a vertical  position  during  the  pro- 
cess of  development. 

Transferring  Machine. — An  apparatus  used  for  the  pur- 
pose of  intimately  uniting  tissue  and  support  previous  to 
development,  or  mounting  prints  on  their  final  support. 

Gum  Bichromate  Process. — A direct  carbon  process  in 
which  the  pictures  are  developed  from  the  front  without 
transfer. 

Ozotype. — A carbon  process  without  transfer  invented 
by  T.  Manly. 

Sazvdiist  Process. — The  process  of  developing  Artigues 
velvet  paper  by  means  of  a solution  of  fine  sawdust  in  hot 
water. 

Photo-Oleograph  Process. — A process  for  making  pic- 
tures in  colors  by  the  aid  of  photography ; invented  by  A.  M. 
Marton  in  1885. 

MATERIAI,  AND  REQUISITElS  OR  THR  PROCESS. 

Although  carbon  pictures  may  be  made  in  a small  way, 
that  is,  having  little  or  no  equipment  other  than  a couple  of 
trays,  a squeegee,  and  a thermometer;  it  nevertheless  re- 
quires a more  respectable  outfit  to  carry  on  business  to  any 
considerable  extent.  Therefore,  unless  a carbon  printer  is 
equipped  with  the  necessary  material  and  apparatus,  he  can 
not  be  expected  to  do  very  satisfactory  work,  or  do  it  at  all, 
without  considerable  loss  of  time  and  material. 

The  following  list  of  materials,  apparatus,  etc.,  will  be 
sufficient  to  supply  any  carbon  plant  of  ordinary  capacity : 

One  broad  camel’s  hair  brush,  a large  and  small  drag 
squeegee,  one  squeegee  board,  a large  and  small  rubber  cloth, 


18 


The  Modern  Methods  of  Carbon  Printing. 


a large  and  small  piece  of  transparent  (thin)  celluloid,  a 
zinc  or  porcelain  sensitizing  tray,  a tin  mounting  tray,  two 
tin  cold  water  trays,  one  porcelain  or  rubber  alum  tray,  one 
hot  water  or  developing  tray,  one  dipper,  one  thermometer, 
one  actinometer,  two  dozen  photo  clips,  one  set  of  rubber 
finger  tips  and  a pair  of  rubber  gloves. 

If  the  tank  method  of  development  is  adopted  it  will  re- 
quire one  hot  water,  two  cold  water,  and  one  alum  tank,  of 
a size  suitable  for  the  class  of  work  to  be  turned  out.  It  will 
further  take  opal,  ground  glass  and  paper  temporary  sup- 
ports, enough  to  answer  the  purpose,  scjueegee  plates,  wax- 
ing solution,  cotton  flannel,  one  chamois  skin,  six  or  eight  lead 
weights,  tin  pressure  boxes  for  tissue,  tin  receptacle,  a small 
gas  stove,  negative  racks.  In  the  majority  of  cases  the  above 
named  articles,  apparatus,  etc.,  are  of  course  already  in  use 
in  the  studio  and  will  not  need  to  be  supplied. 

The  following  list  of  chemicals  are  required  for  making 
single  and  double  transfer  carbon  pictures  : 


Bichromate  of  potash,  granulated 
Carbonate  of  ammonia. 

Chloride  of  sodium 
Carbon  reducine 
Bichloride  of  mercury 
Permanganate  of  potash 
Sulphite  of  soda 
Powdered  potash  alum 
Chrome  alum 
Liquid  ammonia 
Antichrome 

Sulphocyanide  of  ammonia 
Accelorine 
Chromic  Sensitizer 
Sulphuric  ether 


Hydrochloric  acid 

Hydroflouric  acid 

Fluoride  of  soda 

Collodion 

Benzole 

Turpentine 

Alcohol 

Gelatine 

Rosin 

Pure  beeswax 
French  chalk 
Talcum 
Glycerine. 
Columbian  Spirit 


The  Modeen  Methods  op  Carbon  Printing. 


19 


materials  used. 

The  following  list  of  carbon  tissue,  transfer  paper,  etc., 
is  used  for  the  ordinary  run  of  carbon  pictures  ; 


Warm  black 
Engraving  black 
Standard  brown 
Sepia 

Ruby  brown 
Italian  green 


Photo-purple 
Red  chalk 
Sea  green 
Marine  blue 
Platinum  black. 
Cool  Sepia 


]\Iatt 'surface  celluloid,  opal  glass,  single  transfer  paper, 
baryta  paper  and  etching  paper  for  single  transfer;  and 
final  support,  and  opal  or  porcelain  plates  for  double  trans- 
fer pictures. 


20 


The  Modern  Methods  of  Carbon  Printing. 


CHAPTER  IV. 


the;  work-rooms. 

TF  THE  real  cause  of  many  failures  in  carbon  printing 
were  known,  it  would  undoubtedly  be  found  that  the 
rooms  and  light  where  the  work  had  been  done  were  at  fault. 

There  seems  to  be  a lack  of  understanding  regarding 
this  very  important  matter,  and  I would  like  to  impress  it 
upon  the  minds  of  all  beginners  who  contemplate  making  ar- 
rangements for  carbon  printing,  that  a properly  arranged 
work-room,  with  the  necessary  apparatus,  etc.,  should  be  the 
first  consideration. 

The  requirements  are 
nothing  elaborate  or  expen- 
sive. All  that  is  necessary  is 
cleanliness,  plenty  of  pure, 
fresh  air,  and  everything  in 
its  place  at  the  proper  time. 
Without  these  it  would  be  ut- 
ter folly  to  undertake  work 
of  this  kind  and  expect  to  be 
successful. 

Ordinarily  the  w o r k- 
rooms  need  not  be  any  dif- 
ferent from  those  used  for 
common  photographic  print- 
ing purposes.  The  only  im- 
DOUBLE  SHUTTERS.  portaiit  difference  is  in  the 

light  which  must  be  subdued  by  an  arrangement  of  shutters. 


The  Modern  Methods  of  Carbon  Printing. 


21 


or  screened  with  yellow  glass  or  curtains.  This  is  absolutely 
necessary  at  all  times  when  dry  sensitive  carbon  tissue  is 
exposed,  like  in  the  cutting  and  changing  operations. 

THS  DRYING  ROOM. 

The  first  difficulty  experienced  by  a new  beginner  in  car- 
bon printing,  is  to  find  a room  that  can  be  properly  arranged 
for  drying  sensitized  carbon  tissue. 

The  requirements  for  this  room  are,  perfectly  dry  walls 
and  floor,  with  a ventilation  that  furnishes  a good  supply 
of  pure,  fresh  air.  The  absence  of  soot,  dust,  foul  gases, 
and  stench  of  any  kind,  is  all  important  and  must  absolutely 
be  avoided. 

Painted  walls  and  painted  floors  are  easily  kept  clean, 
on  account  of  retaining  but  very  little  moisture,  and  are 
therefore  especially  recommended. 

The  source  of  light  must  be  arranged  so  that  it  can  be 
shut  out  completely  during  the  process  of  drying  without 
shutting  off  the  draught.  (See  Fig.  i.) 

the:  DE:VE:IvOPING  room. 

This  room  may  be  arranged  to  suit  the  convenience  of 
the  operator ; usually  a toning  room  with  a window  fixed  as 
in  Fig.  I will  serve  the  purpose  for  an  ordinary  amount  of 
work.  Perfect  cleanliness  in  all  parts  is  absolutely  necessary 
to  insure  success.  Tables,  trays,  and  tanks  of  every  descrip- 
tion must  be  in  good  order  to  avoid  a hitch  and  cause  failure. 

pure:  air  and  ve:ntilation. 

The  double  shutter  arranged  on  the  outside  and  lower 
part  of  a window.  Fig.  i is  probably  the  best  arrangement 
that  could  be  devised  for  the  purpose  of  supplying  light,  and 
ventilation  to  a carbon  plant.  These  shutters  are  so  ar- 


22 


The  Modern  Methods  of  Carbon  Printing. 


ranged  as  to  allow  the  window  to  be  raised  and  lowered  at 
will,  and  serve  to  shut  out  all  the  white  light,  but  will  admit 
the  air  to  pass  through  freely.  Grates  and  chimney  flues  also 
serve  this  purpose,  but  are  not  so  effective. 

One  of  the  most  important  factors  in  carbon  printing 
is  pure,  dry  air.  There  may  be  the  best  kind  of  ventilation 
and  yet  the  required  pureness  may  be  wanting. 

Rooms  located  near  water  closets,  stables,  factories,  etc., 
emitting  bad  odors  or  foul  gases,  must  be  avoided,  especially 
when  drying  sensitive  tissue. 

THE  eight. 

The  most  important  operations  in  carbon  printing  are 
carried  on  in  a non-actinic  or  subdued  daylight.  Only  the 
latter  part  of  the  developing  manipulations  require  a good, 
strong  light  to  enable  the  operator  to  distinctly  observe  the 
appearance  of  the  latent  image  as  it  emerges  from  beneath 
the  mass  of  pigmented  gelatine  during  the  progress  of  de- 
velopment. 

Of  all  the  arrangements  in  use  for  the  purpose  of  sup- 
plying light  and  ventilation  to  a carbon  plant,  the  one  given 
in  the  accompanying  cut,  Fig.  i,  is  one  of  the  most  simple 
and  probably  the  most  practical  in  use. 

The  curtain,  which  should  be  of  orange  colored  fabric, 
or  yellow  Holland,  should  be  made  to  slide  in  grooves  at  the 
sides,  to  completely  shut  out  all  the  white  light  that  might 
enter  from  that  source.  The  shutters  are  painted  red  or 
yellow,  to  make  the  light  reflected  through  them  non-actinic. 
For  work  at  night,  the  Welsbach  incandescent  gas  burner 
makes  a flne  light  to  work  by. 

For  a light  to  use  during  the  sensitizing  operations  a 
sperm  candle  is  probably  the  safest  and  best.  The  smell  of 
gas  or  kerosene  has  a ruinous  effect  upon  the  tissue. 


The  Modern  Methods  op  Carbon  Printing. 


23 


ChAPTER  V. 


THi:  CARBON  OR  PIGMENT  TisSUE. 

ARBON  tissue,  as  I have  previously  explained,  is  a paper 
coated  with  a pigmented  gelatine.  This  tissue  was  orig- 
inally prepared  with  lampblack  or  India  ink,  which  is  chiefly 
pure  carbon;  hence  the  name  “Carbont  Tissue.”  The  manu- 
facturers of  the  present  time,  have  introduced  a great  variety 
of  colors,  of  which  many  are  mineral  oxides  and  it  would 
hardly  be  proper  to  put  them  under  the  head  of  carbon ; 
hence  the  name  “Pigment  Tissue.”  The  products  of  the 
manufactures  are  of  a most  excellent  cjuality  and  readily  ob- 
tainable at  any  stock  house.  The  colors  most  popular  at  the 
present  time  are:  Warm  black,  engraving  black,  platinum 

black,  sepia,  lambertype  purple,  sea  green,  and  bartollozi  red. 
The  range  of  colors  of  the  different  makes,  embraces  about 
forty  different  tones  or  colors,  and  is  obtainable  in  rolls  of 
thirty  square  feet. 

Although  pigment  tissue  is  cheaply  and  very  readily  ob- 
tainable, there  are  cjuite  a good  many  carbon  printers  who 
prefer  to  make  their  own  tissue.  I will  therefore,  give  full 
instructions  in  the  manufacture  of  carbon  tissue.  (See  ap- 
pendix.) 

The  carbon  tissue — its  condition  and  appearance  rel- 
ative TO  ITS  PRINTING  QUALITIES. 

It  is  quite  difficult  to  judge  the  quality  of  carbon  tissue 
by  its  appearance.  The  gelatine,  pigments,  and  different 
chemical  ingredients  that  enter  into  its  general  makeup,  all 


24 


The  Modern  Methods  of  Carbon  Printing. 


have  more  or  less  influence  upon  the  appearance  of  its  sur- 
face. Thus,  a film  composed  of  an  inferior  grade  of  gelatine, 
or  the  addition  of  a considerable  amount  of  sugar,  will  ap- 
pear brilliant  and  glossy  when  looked  at  by  reflection,  while 
another  prepared  with  a finer  grade  of  gelatine  will  have  a 
matt,  dull  surface,  and  not  be  so  pleasing  in  appearance,  and 
yet  be  a superior  grade  of  tissue.  Therefore,  the  quality  of  a 
carbon  tissue  should  never  be  judged  by  its  brilliancy  or  gloss, 
for  a tissue  having  a fine,  glossy  appearance  may  3neld  very 
unsatisfactory  results,  while  another,  with  probably  an  un- 
even and  apparently  lifeless  surface  may  yield  pictures  that 
are  brilliant  and  vastly  superior  in  every  respect. 

The  paper  used  as  a support  for  the  pigmented  gelatine 
compound,  also  has  a considerable  influence  upon  the  ap- 
pearance of  the  film.  A tough,  smooth  paper  gives  an  even 
surface,  while  a soft,  spongy  paper  produces  an  uneven,  peb- 
bled appearance.  The  latter  is  sometimes  difficult  to  strip 
from  the  film,  especially  when  the  tissue  has  become  a little 
old  and  probably  partly  insoluble. 

Commercial  carbon  tissue  usually  has  a smooth,  uniform 
coating;  but  it  does  not  matter  materially,  however,  if  it 
does  contain  places  of  uneven  thickness.  The  formation  of 
the  latent  image  takes  place  in  the  immediate  surface  of  the 
film,  to  a depth  according  to  the  penetrating  power  of  the 
light  to  which  it  was  exposed.  If  the  exposed  tissue  remains 
undeveloped  for  a considerable  length  of  time,  or  is  left  to 
the  influence  of  the  continuous  action  set  up  by  the  exposure 
to  light,  it  will  gain  considerable  in  density  and  if  not  ar- 
rested, goes  on  until  it  passes  clear  through  the  entire  film, 
causing  total  insolubility  and  loss  of  tissue. 

The  superfluous  compound  that  remains  beneath  the  un- 
affected portion  of  the  film  is  of  no  more  consequence  than  to 


The  Modern  Methods  of  Carbon  Printing. 


25 


merely  help  the  easy  removal  of  the  paper  from  the  back  of 
the  tissue  and  otherwise  facilitate  the  development. 

Considering  the  hygroscopic  nature  of  gelatine,  carbon 
tissue  should  be  well  protected  against  the  humidity  of  the 
atmosphere,  and  be  stored  in  a perfectly  dry  and  cool  place. 

The  gelatine  film  itself  is  not  materially  affected  by  mois- 
ture, any  more  than  it  would  cause  it  to  stick  together. 

The  only  damage  caused  by  moisture  is  the  formation  of 
mold  on  the  paper  supporting  the  film,  which  in  time  would 
affect  the  gelatine  and  cause  it  to  rot  and  completely  destroy 
the  tissue. 


26 


The  Modern  Methods  of  Carbon  Printing. 


CHAPTER  VI. 


BICHROMATi;  OF  POTASH. 

' I 'HE  application  of  nitric  acid  to  chromate  of  potash 
yields  bichromate  of  potash  which  is  rendered  clear  of 
impurities  by  crystallization.  It  has  two  atoms  of  acid  to  one 
of  base,  which  occur  in  fine  orange  colored  ciwstals  and  are 
soluble  in  about  twelve  parts  of  water  at  58°  F. 

Light  decomposes  the  chromic  acid  of  bichromate  of  pot- 
ash when  in  contact  with  an  organic  body,  such  as  gelatine, 
gum,  starch,  etc.,  by  yielding  up  half  of  its  oxygen  to  the 
organic  body ; itself  being  reduced  to  a lower  oxide  of  chro- 
mium. Through  oxidation  by  the  chromic  acid,  the  organic 
body  is  rendered  insoluble  in  hot  water,  to  a degree  acted 
upon  by  the  actinic  rays  of  light.  Upon  this  property  is  based 
the  carbon  process  and  the  various  photomechanical  printing 
processes. 


BICHROMATE  OF  AMMONIA. 

Bichromate  of  ammonia  is  obtained  by  treating  chromic 
acid  with.-  ammonia  and  evaporating.  The  crystals  thus 
formed  are  freely  soluble  in  Avater,  and  it  is  claimed  by  some 
that  it  imparts  a greater  sensitiveness  to  the  tissue  and  more 
\dgor  and  contrast  to  the  prints,  otherwise  it  has  about  the 
same  properties.  Its  cost  is  more  than  double. 

BICHROMATE  OF  SODIUM. 

Bichromate  of  sodium  is  highly  recommended  as  a substi- 
tute for  bichromate  of  potash,  or  ammonia.  It  Avill  be  found 


The  Modern  Methods  of  Carbon  Printing. 


27 


to  have  some  very  excellent  qualities.  Being  freely  soluble 
in  water,  it  does  not  crystallize  on  the  film  as  readily  as  am- 
monia or  potash.  It  disolves  in  double  its  cpiantity  of  water ; 
ammonia  and  potassium  salts  require  as  much  as  ten  and 
twelve.  It  is  less  than  half  as  expensive  as  the  former. 

BICHROMATE  POISONING. 

Bichromate  of  potash  is  a corrosive  poison,  and  although 
cases  of  bichromate  poisoning  are  rare,  it  is  best  to  handle  it 
with  care.  It  should  never  be  allowed  to  touch  the  hands 
where  there  is  an  abrasion  of  the  skin  or  a sore  of  any  kind. 
It  causes  a severe  irritation,  which,  if  not  immediately  ar- 
rested, causes  sores  and  ulcerations  that  are  difficult  to  heal. 

In  a powdered  state  it  must  be  carefully  handled  to  avoid 
dust,  whi(..h,  if  inhaled,  attacks  the  mucous  membrance  very 
seriously,  causing  a violent  cough  and  sneezing,  with  a suf- 
fusion of  tears.  Immediate  application  of  warm  water  made 
slightly  alkaline  with  bicarbonate  of  soda  or  magnesium  is 
of  the  greatest  importance.  Taken  internally,  it  causes  vio- 
lent inflammation  of  the  stomach  and  bowels,  and  seriously 
affects  the  kidneys  and  bladder. 

A teaspoonful  of  bicarbonate  of  soda  in  a glass  of  water 
should  be  taken  immediately,  and  at  the  same  time  a paste 
made  of  two  parts  of  bicarbonate  of  magnesia  and  one  part 
of  chalk,  mixed  in  water,  should  be  prepared,  to  be  taken  in 
case  the  bicarbonate  of  soda  does  not  have  the  desired  effect. 

To  avoid  trouble  caused  by  an  abrasion  of  the  skin,  or  by 
absorption  while  developing  in  hot  solutions,  wash  the  hands 
well  with  common  laundry  soap,  and  apply  a carbolated  vase- 
line. In  severe  cases,  a salve  sold  by  all  druggists,  called 
“carbolisalve,”  will  heal  it  in  a very  short  time. 

There  are  quite  a number  of  chemicals  used  in  photog- 
raphy which  are  probably  more  dangerous  than  bichromate 


28 


The  Modern  Methods  op  Carbon  Printing. 


of  potash;  and  yet  cases  of  poisoning-  are  very  rare.  So 
with  the  bichromates;  but  it  is  best  to  be  posted  on  the  dan- 
gerous properties  of  these  chemicals,  so  as  to  be  able  to 
guard  against  trouble  which  might  be  incurred  by  careless 
handling. 

The  safest  and  best  plan,  when  using  these  chemicals,  is 
to  wear  rubber  gloves,  or  at  least  rubber  finger  cots. 

Spermaceti,  or  beeswax,  dissolved  in  a little  turpentine, 
will  protect  abrasions  or  sore  places  while  working  in  cold 
solutions. 


The  Modern  Methods  of  Carbon  Printing. 


29 


chapter  VII. 


THE  BICHROMATE  SENSITIZING  BATH. 

' l^'HE  bichromate  sensitizing  bath  is  the  one  all-important 
chemical  solution  employed  in  the  carbon  process.  Its 
preparation  and  constituents  greatly  depend  upon  certain 
conditions,  of  which  the  character  of  the  negatives  to  be 
printed  from,  must  be  the  first  consideration.  The  climatic 
conditions  that  prevail  during  the  different  seasons  of  the 
year  in  the  various  localities  all  over  the  country,  must  also 
be  taken  into  consideration. 

The  strength  of  the  bichromate  bath  is  quite  a factor  in 
carbon  printing.  A strong  bath  will  make  the  tissue  very 
sensitive  to  light  (from  three  to  six  times  more  than  Aristo,) 
but  it  will  have  a tendency  to  flatness  and  soon  becomes  in- 
soluble. A weak  bath  makes  the  tissue  less  sensitive  to  light, 
but  it  will  print  with  considerable  more  contrast  and  also 
has  much  better  keeping  qualities. 

Therefore,  when  preparing  the  sensitizing  bath,  it  is  well 
to  bear  in  mind  that  we  must  gauge  the  strength  of  our 
solutions  according  to  the  temperature  of  the  atmosphere, 
and  the  density  of  the  negatives  to  be  printed  from. 

From  the  above  it  will  readily  be  seen  that  when  we  have 
negatives  strong  in  contrast  and  very  dense,  we  will  require 
a strong  solution,  one  that  will  make  the  tissue  very  sensitive 
to  light  and  will  print  with  a tendency  to  flatness ; which 
will  reduce  the  harsh  contrast  of  this  class  of  negatives,  and 
yields  softer  and  finer  prints.  An  unduly  strong  bath  should, 
however,  be  avoided,  as  it  has  a tendency  to  make  the  gela- 


30 


The  Modern  Methods  of  Carbon  Printing. 


tine  film  insoluble  without  exposure,  especially  in  hot 
weather.  On  the  contrary,  if  our  negatives  are  weak  and 
delicate,  with  a tendency  to  flatness,  and  we  desire  prints 
with  more  brilliancy  and  contrast,  it  is  obvious  that  we  must 
adopt  a formula  with  a small  per  cent  of  bichromate,  to  ac- 
complish the  desired  result. 

A three  per  cent  solution  of  bichromate  is  the  average 
strength  of  bath  used  for  sensitizing  commercial  carbon  tis- 
sue, at  a moderate  temperature,  for  negatives  of  medium 
strength. 

The  speed,  providing  the  bath  is  new  and  contains  noth- 
ing that  will  retard  the  action  of  light,  will  be  from  three  to 
four  times  as  rapid  as  Aristo  paper.  During  the  winter 
months,  in  northern  climes  when  the  light  is  weak  and 
dull  and  the  action  is  very  slow,  it  is  necessary  to  increase 
the  strength  of  the  bath  to  a five  or  six  per  cent  solution, 
and  in  some  instances,  as  high  as  seven  or  eight  per  cent,  for 
negatives  of  unusual  density,  to  be  printed  in  a very  low 
temperature. 

In  localities  where  the  temperature  gets  very  low  and 
the  light  weak,  it  is  advisable  to  make  thin  negatives ; under 
such  conditions  the  results  will  be  far  better  than  from  dense 
ones. 

With  the  gradual  rise  of  the  temperature  in  spring,  until 
the  heat  reaches  its  maximum  intensity  in  summer,  we  grad- 
ually reduce  the  strength  of  the  bichromate  bath  to  a two 
per  cent  solution,  and  when  the  negatives  are  thin  and  weak 
it  is  sometimes  necessary  to  reduce  it  to  a one  per  cent  solu- 
tion to  obtain  the  desired  results. 

In  hot,  moist  climates,  the  tissue  is  liable  to  become  in- 
soluble while  drying,  if  the  proper  precautions  are  not  taken. 

To  counteract  this  tendency,  it  is  advisable  to  reduce  the 
strength  of  the  bath  and  add  a small  quantity  of  pure  car- 


The  Modern  Methods  op  Carbon  Printing. 


31 


bonate  of  soda ; this  should,  however,  never  be  used  to  excess. 
A small  quantity  will  prove  very  beneficial,  while  an  over- 
sufficiency is  very  apt  to  cause  trouble. 

There  are  other  means  to  help  overcome  this  difficulty. 
An  addition  of  alcohol,  and  in  some  cases  ether,  will  keep 
the  tissue  in  a good,  workable  state  and  prevent  a too  rapid 
insolubilization.  Accelorine  imparts  fine  keeping  qualities  to 
both  bath  and  tissue,  but  with  its  use  the  alcohol  must  be 
omitted. 

For  tissue  for  immediate  use,  in  sheets  of  small  form, 
our  new  chromic  sensitizer,  is  the  finest  bath  there  is.  The 
tissue  is  sensitized,  dried  and  ready  for  use  in  from  five  to 
ten  minutes,  and  yields  very  superior  prints. 

The  purity  of  the  water  used  in  making  up  a sensitizing 
bath,  is  also  of  considerable  importance  in  producing  a highly 
sensitive  and  easily  soluble  tissue.  Pure  spring  or  well  wa- 
ter, unless  it  is  excessively  hard,  will  answer  very  well,  if  it 
is  first  boiled.  Rain  water  is  usually  more  or  less  contami- 
nated and  contains  considerable  organic  matter,  but  it  pos- 
sesses the  required  softness.  The  simple  process  of  boiling  it 
in  a clean  vessel  will  purify  it  by  precipitating  the  organic 
matter  which  makes  it  most  suitable  to  use  for  bichromate 
sensitizing  solutions.  A bath  made  up  of  distilled  or  boiled 
rain  water,  will  not  dissolve  so  readily,  and  the  sensitized 
tissue  will  develop  quickly  and  will  yield  clean,  clear  and 
brilliant  prints,  and,  furthermore,  will  have  good  keeping 
qualities. 

A good  quality  of  bichromate,  and  good  pure  water  is 
really  all  that  is  required  for  a good  sensitizing  bath.  All  other 
additions  are  made  to  improve  the  quality  of  the  tissue  in 
one  way  or  another,  some  to  make  it  more  pliable,  and  others 
to  make  it  easily  soluble  in  water  of  a moderately  low  tern- 


32 


The  Modern  Methods  op  Carbon  Printino. 


perature,  or  to  make  it  print  with  more  contrast,  and  to  give 
it  better  keeping  qualities,  etc. 

The  temperature  of  the  bichromate  bath  is  another  very 
important  factor  in  sensitizing  carbon  tissue.  This  depends 
greatly  upon  the  climatic  conditions  that  prevail  during  cer- 
tain seasons  of  the  year  in  different  localities  or  sections  of 
the  country.  In  winter  the  temperature  of  the  bath  should 
never  be  below  6o°  F.  or  higher  than  70°  F.  In  summer  it 
must  be  cooled  down  to  50®  F.  and  never  allowed  to  be 
above  60°  F.  It  is  well  to  bear  in  mind  that  gelatine  is  much 
easier  soluble  in  a solution  of  bichromate  than  it  is  in  plain 
water  of  the  same  temperature,  and  therefore  must  be  kept 
as  cool  as  possible  in  summer.  If  the  temperature  of  the 
room  is  high,  some  means  must  be  provided  to  keep  the  solu- 
tion cooled  down  to  the  proper  degree.  A tray  of  cold  water, 
or  broken  ice,  in  which  to  set  the  sensitizing  dish,  is  probably 
the  most  simple  manner  of  accomplishing  this  purpose.  A 
solution  of  chemically-pure  bichromate  in  distilled  water  will 
not  be  decomposed  by  light  and  will  keep  indefinitely. 

In  presence  of  an  organic  substance,  however,  such  as 
alcohol,  sugar,  glycerine,  gelatine,  etc.,  light  will  reduce  the 
chromic  acid  of  bichromate  of  potash  very  rapidly,  and  it 
will  first  turn  brown,  and  then  assume  a greenish  color,  and 
it  will  finally  be  reduced  to  green  oxide  of  chromium. 

It  does  not  lose  its  tanning  property,  however,  but  if  used 
in  this  condition  as  a sensitizing  agent  for  carbon  tissue,  the 
pictures  resulting  therefrom  will  be  weak  and  gray,  blacked 
in  the  shadows,  and  will  be  very  difficult  to  develop.  Fur- 
thermore, the  tissue  will  not  keep  and  sometimes  becomes  in- 
soluble during  the  process  of  drying. 

It  is,  therefore,  well  to  remember  that  all  bichromate 
solutions  containing  organic  matter,  carbonate  of  ammonia, 
alcohol,  etc.,  must  be  preserved  in  dark-colored  bottles  or 


The  Modern  Methods  of  Carbon  Printing. 


33 


jugs,  or  must  be  kept  in  a dark  place,  and  that  it  is  not  wise 
to  use  a bath  too  long.  It  is  better  economy  to  renew  it  too 
often  than  not  enough.  Bichromate  of  potash  is  cheap  and 
easily  obtainable. 

The  manner  of  mixing,  or  making  up,  a sensitizing  bath, 
will,  of  course,  be  left  to  the  convenience  of  the  operator. 
The  granular  bichromate  may  be  dissolved  in  hot  water  and 
filtered,  or  it  may  be  tied  into  a small  bag  and  suspended  in 
a wide-mouthed  jug  or  bottle  containing  filtered  hot  water, 
where  it  will  readily  dissolve,  and  the  sediment  or  insoluble 
particles  are  left  remaining  in  the  bag. 

When  the  solution  has  cooled  down  to  the  proper  tem- 
perature, add  the  ammonia,  glycerine,  alcohol,  etc.,  accord- 
ing to  prevailing  conditions  of  temperature  and  atmosphere, 
and  the  quality  of  negatives  for  which  the  paper  will  be  used. 

The  following  formulas  have  been  tested  and  tried  and 
are  used  by  many  of  the  foremost  carbon  printers  of  this 
country,  and  of  Europe : 

No.  I. 


Bichromate  of  potash 3 ounces 

Water loo  “ 

Carbonate  of  ammonia 70  grains 


If  the  negatives  to  be  printed  are  thin  and  flat,  add  one 
ounce  of  glycerine  to  give  contrast. 

In  summer,  reduce  to  a two  per  cent  solution,  and  add 
4 ounces  of  alcohol. 

To  prevent  reticulation  in  hot  weather,  add  100  grains 
of  salicylic  acid,  or  a few  drops  of  a 10  per  cent  solution  of 
bichloride  of  mercury.  In  extreme  cases,  coat  the  tissue 
with  a I ^ per  cent  collodion. 

The  time  of  immersion  for  negatives  of  medium  strength 
is  three  minutes,  and  for  thin  negatives,  two  minutes. 


34 


The  Modern  Methods  of  Carbon  Printing. 


The  following  is  a splendid  bath  for  heavy,  dense  nega- 
tives, with  violent  contrasts,  and  for  use  during  cold  weather 
in  the  winter  season  ; 


No.  2. 


Bichromate  of  potash,  C.  P 6 ounces 

Distilled  water  loo  “ 

Accelorine  150  grains 

Ammonia  (Liq.)  2 drams 


Dissolve  in  hot  water  and  filter  through  fine  muslin. 
Time  of  immersion  : Heavy  dense  negatives,  4 minutes ; 
medium  negatives,  3 minutes. 

The  following  is  a very  fine  bath,  and  may  be  used  in  any 
climate,  giving  splendid  results  from  all  classes  of  negatives  : 

No.  3. 


Bichromate  of  potash 2 ounces 

Bichromate  of  ammonia 2 “ 

Ammonia  (Liq.)  2 drams 

Accelorine  100  grains 

Water  (distilled)  128  ounces 


In  summer,  dilute  with  an  equal  quantity  of  water  and 
add  from  2 to  4 ounces  of  granulated  sugar.  Rapid  drying 
is  essential  in  warm  weather. 

Time  of  immersion:  Thin  delicate  negatives,  2 min- 

utes ; medium,  3 minutes,  and  dense  contrasts,  4 minutes. 

FORMULAS  FOR  SPECIAL  PURPOSES. 

The  following  bath,  if  properly  managed  is  especially 
recommended  for  summer  use,  and  for  excessively  hot  and 
dry  climates : 

Bichromate  of  sodium 2 ounces 

Water  100  “ 

Ammonia  (Liq.)  120  min. 

Citric  acid  100  grains 

Salicylic  acid  50  “ 

Time  of  immersion  : Medium  negatives,  3 minutes ; thin 
negatives,  2 minutes 


The  Modern  Methods  of  Carbon  Printing. 


3.5 


The  above  bath  must  be  kept  in  a cool,  dark  place. 

A bath  especially  adapted  for  tissue  to  be  used  in  hot, 
moist  climates,  may  be  prepared  as  follows  : 


Water  loo  ounces 

Bichromate  of  ammonia i ounce 

Bichromate  of  potash i “ 

Carbonate  of  soda  (C.  P.) .100  grains 

Strong  ammonia  (Liq.) 2 drams 


Dissolve  the  bichromate  in  the  usual  way  and  add  the 
ammonia  and  carbonate  of  soda.  Then  pour  2 ounces  of 
alcohol  into  3 ounces  of  sulphuric  erher  and  add  the  mixture 
to  the  bath. 

The  tissue  sensitized  in  this  bath  will  dry  out  c[uickly 
and  is  readily  soluble  in  water  at  a moderately  low  tempera- 
ture. 

BATH  FOR  CARBON  VIGNFTTFS. 

The  difficulty  experienced  by  some  carbon  printers  in 

obtaining  delicately  graded  vignettes,  may  be  attributed,  in 

part,  to  the  bichromate  bath.  A solution  composed  of  the 

following  constituents,  makes  a bath  that  will  impart  to  the 

tissue,  the  qualities  desirable  for  this  purpose : 

Bichromate  of  potash 8 ounces 

Water  120  “ 

Strong  ammonia  (Liq.) 3 “ 

Accelorine  i ounce 

For  more  vigorous  effects  dilute  with  water. 

Immerse  the  tissue  two  and  three  minutes  according  to 
density  of  the  negative. 

This  bath  has  all  the  fine  qualities  desirable  in  a good 
bichromate  sensitizing  bath,  and  may  be  readily  adjusted  to 
suit  any  class  of  negatives  with  the  additional  advantage  of 
delicate  gradation  in  vignetting. 

The  age  of  the  tissue  will,  of  course,  have  considerable 
influence  upon  its  condition  and  printing  qualities,  work- 
ing with  more  vigor  and  contrast  when  new,  and  having 
more  delicacy  and  softness  when  several  days  old. 


36 


The  Modern  Methods  of  Carbon  Printing. 


CHAPTER  VIII. 


PRACTICAL  NOTES. 

A LL  the  chemical  constituents  of  a bichromate  bath, 
^ their  behavior,  agency  and  purpose  should  be  well  stud- 
ied by  both  amateur  and  professional  carbon  printers,  to  en- 
able them  to  fully  understand  the  working  details  of  the 
process.  I will,  therefore,  briefly  refer  to  a few  of  the  most 
important  constituents,  upon  which  it  is  well  for  the  carbon 
printer  to  be  posted. 

A good  quality  of  bichromate  and  pure  water  is  really 
all  that  is  necessary  to  make  a sensitizing  bath  ; all  the  other 
ingredients  are  added  to  ameliorate  the  faults  of  both  tissue 
and  negatives,  and  to  overcome  the  difficulties  brought  on  by 
certain  conditions  of  climate  and  temperature. 

A concentrated  solution  of  bichromate  will  make  the  tis- 
sue very  sensitive  to  light,  and  will  therefore  become  very 
readily  insoluble. 

Being  extremely  sensitive  causes  it  to  print  with  a ten- 
dency to  flatness,  which  for  that  reason  makes  it  very  suit- 
able for  negatives  that  are  dense  and  contrasting,  but  on 
account  of  its  extreme  sensitiveness,  it  will  not  keep  in  a 
good  workable  condition  for  a great  length  of  time. 

Newly  sensitized  tissue  prints  with  vigor  and  contrast. 
With  age  it  becomes  less  contrasty  and  gives  softer  effects; 
and  when  old,  unless  the  negatives  possess  the  required 
strength,  the  prints  will  be  flat  and  lifeless.  It  will  thus  be 
seen  that  old  tissue  is  just  the  article  for  hard  contrasty 
negatives,  and  new  tissue  for  thin,  soft  negatives  that  have 
a tendency  to  flatness. 


The  Modern  Methods  op  Carbon  Printing. 


37 


Carbonate  of  ammonia  makes  the  tissue  more  pliable  and 
readily  soluble  in  warm  water,  and  in  a measure  stays  the 
tendency  to  insolubility,  and  thus  adds  to  its  keeping  quali- 
ties. 

The  amount  used  may  be  varied  according  to  existing 
conditions ; from  a half  to  one  grain  to  each  ounce  of  bath, 
according  to  the  strength  of  solution. 

Liquid  ammonia  (.880)  is  preferable  to  carbonate  in  hot, 
moist  climates. 

It  is  used  from  a half  to  five  per  cent,  according  to  cli- 
matic conditions  and  per  cent  of  bichromate  contained  in  the 
solution. 

Carbonate  of  sodium  is  preferred  by  a great  many  to  car- 
bonate of  ammonia.  Its  action  is  milder  and  the  pictures 
are  finer,  but  it  shows  the  tissue  considerably  more  than  the 
ammonia. 

Glycerine  makes  the  tissue  very  pliable  and  causes  it  to 
adhere  better  to  the  support,  and  also  makes  it  easily  soluble 
during  development,  but  it  must  be  used  with  care ; while  it 
gives  contrast  and  greatly  adds  to  the  vigor  of  the  prints,  it 
will  also  cause  a loss  of  half-tones,  and  considerably  retards 
the  action  of  light  upon  the  tissue.  Use  from  a half  to  one 
per  cent. 

Salicylic  acid  about  one  grain  to  the  ounce  of  sensitizing 
bath  (3  per  cent)  may  be  added  in  summer  to  improve  the 
keeping  qualities,  and  prevent  reticulation. 

Sugar  is  sometimes  used  instead  of  glycerine ; it  makes 
the  tissue  pliable,  easily  soluble  in  hot  water,  and  adds  vigor 
to  the  prints.  Use  from  one  to  four  per  cent. 

Alcohol  is  used  solely  for  desiccating  purposes — hasten- 
ing the  drying  of  the  tissue.  The  amount  used  varies  ac- 
cording to  temperature  and  other  atmospheric  conditions, 
from  two  per  cent  in  winter  to  twelve,  and  in  some  instances 
as. high  as  twenty  per  cent  in  the  hot  days  of  summer. 


38 


The  Modern  Methods  op  Carbon  Printing. 


Carbon  tissue  immersed  in  a bichromate  bath  containing 
a high  per  cent  of  alcohol,  will  not  imbibe  as  much  solution 
as  if  immersed  in  a plain  bath;  therefore  it  will  dry  more 
rapidly,  especially,  if  placed  in  a draught. 

Alcohol  affects  the  keeping  qualities  of  the  tissue  some- 
what, however,  in  that  it  hastens  insolubility.  It  is  therefore 
advisable  to  use  the  tissue  while  it  is  fresh,  and  develop  as 
soon  after  printing  as  possible. 

Ether  {sulphuric)  mixed  with  one  part  of  alcohol  af- 
fords a special  advantage  as  a drying  agent  for  carbon  tissue 
in  southern  climes,  especially  where  the  atmosphere  is  hot 
and  moist.  Add  from  4 to  6 per  cent  of  the  mixture. 

Bi-chloride  of  mercury  in  a ten  per  cent  solution  is 
used  to  prevent  reticulation  in  the  hot  days  of  summer.  IMust 
be  used  with  care ; if  used  in  excess  it  will  produce  insolubil- 
ity. IMercury  has  a tanning  action  on  gelatine. 

Chromic  acid.  A small  proportion  of  chromic  acid  is 
sometimes  added  to  the  sensitizing  bath  for  tissue  of  very 
hig'h  speed. 

Yellow  chromate  of  potash  (neutral)  is  used  for  slow 
tissue  or  where  great  contrast  is  desired. 

Sulphate  of  manganese  is  also  used  as  an  addition  to  the 
bichromate  bath  for  tissue  of  high  speed. 

The  temperature  of  the  bichromate  bath  should  be  kept 
between  50^^  and  60^  F.  in  summer,  and  6o*^  and  70°  F.  in 
winter. 

Bichromate  solutions  containing  alcohol,  glycerine,  etc., 
must  be  kept  in  a dark,  cool  place. 

Accelorine. — The  addition  of  this  compound  to  the  bi- 
chromate bath  improves  the  keeping  qualities,  and  materi- 
ally adds  to  the  speed  of  the  tissue,  and  further,  makes  it 
readily  soluble  in  water  of  a moderately  low  temperature 
and  gives  greater  brilliancy  of  the  image.  A high  per  cent 
of  alcohol  used  in  connection  with  accelorine,  will  cause  pre- 
cipitation. It  must  therefore  be  used  with  care. 


The  Modern  Methods  op  Carbon  Printing. 


39 


chapter  IX. 


THi:  squeegee:. 

'"T^HIS  little  instrument  takes 
quite  an  important  part  in 
the  carbon  process.  All  the 
transferring  operations  are  done 
with  either  roller  or  drag  squee- 


ROLLER  SQUEEGEE. 


Many  operators  prefer  to  use 
a thinj  flexible  scraper  of  wood 
or  rubber,  instead  of  the  rub- 
ber squeegee.  I cover  the  trans- 
fer with  a thin  piece  of  celluloid 
and  use  the  flexible  wood  scraper  over  it  as  I would  the 
squeegee,  and  in  that  way  can  do  the  work  more  effectively 

and  better  than  with  the  ordin- 
ary squeegee.  The  drag  squee- 
gee must  always  be  used  in 
transferring  the  tissue  to  the 
support  before  development. 

DRAG  SQUEEGEE.  There  is  quite  a knack  in  us- 

ing this  tool  to  the  best  advantage.  If  the  beginner  will 
observe  the  effect  of  the  squeegee  upon  his  pictures,  he  will 
see  dark  streaks  and  cloud  effects,  caused  by  too  much  or 
uneven  pressure.  Striking  the  squeegee  down  hard  when 
placing  it  across  the  back  of  the  tissue  while  making  the 
transfer  will  leave  a plainly  noticeable  streak.  A machine 
constructed  on  the  principle  of  a clothes  wringer  may  be 


40 


The  Modern  Methods  op  Carbon  Printing. 


used  to  good  advantage  in  transferring  a large  number  of 
prints.  If  properly  made,  it  does  the  work  well  and  saves 
considerable  time  and  labor. 

RUBBER  CEOTH  AND  THIN  CEELULOID. 

The  squeegee  and  rubber  cloth  are  closely  allied  in  work- 
ing the  carbon  process.  The  rubber  is  spread  with  the  cloth 
side  up,  over  the  print  in  the  transfer  operation,  to  prevent 
the  squeegee  from  roughing  up  or  tearing  the  paper. 

Thin,  transparent  celluloid  is  used  for  the  same  purpose 
and  is  less  troublesome  to  handle  than  rubber  cloth. 

When  using  the  celluloid,  a thin,  flexible  scraper  made  of 
wood  or  rubber,  may  be  used  instead  of  the  regular  squee- 
gee. It  does  the  work  thoroughly  and  is  much  easier  to 
manipulate. 


The  Modern  Methods  of  Carbon  Printing. 


41 


CfiAPTER  X. 


sensitizing  the  tissue. 


SENSITIZING  operations. 

TT  STABLISHMENTS  that  manufacture  their  own  carbon 
■^tissue,  will  find  it  a great  advantage  to  incorporate  the 
bichromate  or  sensitizing  agent  into  the  pigment  emulsion, 
of  tissue  they  intend  for  immediate  use.  It  will  save  con- 
siderable time,  and  require  less  handling,  but  of  course, 
this  kind  of  tissue  wi  1 keep  only  for  a limited  time — from 
four  to  ten  days. 

Ordinary  carbon  tissue  is  made  sensitive  to  light  in  a so- 
lution of  bichromate  of  potash,  of  a given  strength.  This  is 
one  of  the  most  important  operations  of  the  process  and  it 
should  be  done  with  the  utmost  care  in  every  detail.  Al- 
though there  is  nothing  difficult  or  complicated  about  it,  it 
nevertheless  requires  care  and  good  judgment,  to  properly 


42 


The  Modern  Methods  of  Carbon  Printing. 


adjust  the  strength  of  solution  to  the  quality  of  the  negatives 
to  be  printed  from,  to  obtain  the  best  results. 

Our  new  chromic  sensitizer  is  probably  the  most  sim- 
ple and  economical  sensitizing  bath  for  carbon  tissue  in  use. 
It  is  applied  to  the  surface  of  the  tissue  with  a soft  brush  or 
sponge,  and  dries  out  very  rapidly ; if  necessary,  it  can  be 
dried  and  ready  for  use  in  five  minutes.  This  bath  is,  of 
course,  intended  for  tissue  for  immediate  use. 

There  is  quite  a diversity  of  opinion  among  expert  car- 
bon printers  in  regard  to  which  are  the  best  methods  for 
obtaining  the  proper  degree  of  sensitiveness  of  the  tissue,  to 
suit  the  printing  qualities  of  negatives  of  different  densities. 
Some  employ  solutions  of  different  strength,  for  thin,  or  for 
heavy  negatives,  as  the  case  may  be ; others  claim  the  same 
results  by  longer  or  shorter  immersion  of  the  tissue  in  a sen- 
sitizing bath  of  normal  strength. 

It  will  thus  plainly  be  seen  that  there  is  really  no  fixed 
rule  to  follow  in  sensitizing  carbon  tissue,  with  the  exception 
of  that  of  judging  how  much  bichromate  of  a given  strength 
a film  should  be  allowed  to  absorb,  to  bestow  a sensitiveness 
capable  of  producing  a brilliant  picture  from  a negative  of 
certain  strength  and  cjuality. 

It  is  therefore  well  to  bear  in  mind  that  the  greater  the 
proportion  of  bichromate  the  tissue  is  allowed  to  imbibe,  the 
more  sensitive  it  will  be ; be  it  through  a long  immersion  in 
a weak  bath,  or  a shorter  length  of  time  in  a solution  of 
considerable  strength. 

As  we  have  previously  noted,  tissue  that  has  been  sensi- 
tized on  a strong  bath,  on  account  of  having  absorbed  a 
great  deal  of  bichromate,  will  be  found  very  sensitive,  and 
will  be  best  suited  for  dense  or  slow  printing  negatives.  But 
the  keeping  qualities  are  not  so  good;  for  it  rapidly  dete- 
riorates, especially  in  warm  weather,  when  insolubility  sets 
in  and  destroys  its  printing  qualities  in  a few  days. 


The  Modern  Methods  op  Carbon  Printing. 


43 


Tissue  that  has  been  allowed  to  absorb  but  a small 
amount  of  bichromate  has  much  better  keeping  quali- 
ties, but  is  considerably  less  sensitive.  On  that  account  it  is 
better  suited  for  thin,  delicate  negatives  that  require  a tissue 
that  prints  with  considerable  contrast. 

This  quality  of  tissue  is  obtained  by  a short  immersion 
in  a bath  of  medium  strength,  or  the  use  of  a weak  solution. 

It  is  also  possible  to  alter  the  printing  qualities  of  carbon 
tissue  by  floating  either  film  or  paper  side  upon  the  sensitiz- 
ing bath.  Floating  on  the  film  side  produces  softness,  and, 
on  the  other  hand,  floating  it  on  the  paper  side  gives  contrast 
and  more  vigorous  prints. 

Although  newly  sensitized  carbon  tissue  is  but  slightly 
affected  by  light  while  in  a wet  state,  it  is  nevertheless  good 
policy  to  use  a subdued  or  a yellow  light  when  performing 
this  operation  during  the  day. 

A sperm  candle  is  probably  the  safest  light  to  use  when 
sensitizing  tissue  in  the  evening,  on  account  of  all  absence 
of  smell  or  bad  odors.  The  smell  of  gas  or  kerosene  has  an 
injurious  effect  on  sensitive  tissue. 

The  room  in  which  this  operation  is  performed  must  be 
as  cool  as  possible  in  summer ; and  should  have  a tempera- 
ture of  about  70*^  F.  in  winter.  It  must  have  a good  ventila- 
tion, and  be  as  free  from  dus|;  as  possible.  The  sensitizing 
tray  may  be  of  zinc,  glass  or  porcelain ; the  latter  is  prefer- 
able, if  not  too  expensive.  For  the  common  run  of  studio 
work,  a tray  18x22  inches  in  dimensions  will  answer  all  re- 
quirements ; but  there  is  no  restriction  as  to  size,  it  may  be 
large  or  small,  to  suit  the  convenience  and  purpose  of  the 
operator.  Where  carhon  printing  is  carried  on  extensively,  it 
is  a very  good  policy  to  sensitize  the  tissue  in  large  sheets ; it 
saves  time  and  less  handling. 

In  summer  the  sensitizing  tray  must  be  placed  into  a 


44 


The  Modern  Methods  of  Carbon  Printing. 


larger  tray  containing  ice  or  ice  water,  to  keep  the  solution 
cool  and  at  an  even  temperature.  This  tray  may  be  made  of 
galvanized  iron,  or,  for  economy’s  sake,  may  be  of  wood, 
lined  with  oil-cloth  or  rubber. 

Place  the  tray  on  a convenient  stand  or  table,  near  a good 
strong,  but  yellow  light,  so  as  to  be  able  to  plainly  see  the  sur- 
face of  the  tissue  during  the  process  of  sensitizing.  Then 
pour  in  the  bichromate  solution,  which  of  course,  has  been 
previously  well  filtered,  and  the  strength  adjusted  to  the 
density  or  printing  cjualities  of  the  negatives  it  is  intended  to 
print  from. 

The  solution  should  stand  at  least  one  and  one-half  inches 
high,  in  the  tray,  and  have  a temperature  ranging  between 
50°  F.  and  60°  F.  in  summer  and  between  60*^  F.  and 
F.  in  winter. 

The  lower  the  temperature  of  the  bath  in  summer,  the  less 
liable  the  tissue  will  be  to  reticulate,  and  the  finer  will  be  the 
quality  of  the  pictures.  The  higher  it  is,  the  quicker  will  the 
solution  be  absorbed  by  the  gelatinous  coating,  and  the  more 
liable  will  it  be  to  cause  reticulation  or  coarse,  grainy  prints. 

There  are  no  specified  sizes,  into  which  the  carbon  tissue 
should  be  cut.  The  roll  is  30  inches  wide,  and  if  a strip 
18  inches  wide  is  measured  off,  and  again  cut  through  in 
the  middle,  we  have  two  pieces  of  15x18  inches  ; a very  con- 
venient size  to  handle.  Wdien  ready  to 
begin  with  the  sensitizing  operations, 
protect  the  hands  with  rubber  gloves 
or  finger  cots,  on  account  of  the  poison- 
ous nature,  of  the  bichromate  and  its 
injurious  effect  upon  the  skin.  Then 
remove  the  dust  from  both  sides  of  the 
tissue  with  a camel’s  hair  duster,  and 
taking  it  by  the  corners  diagonally  op- 
rubber  ^finger  posite,  place  it  upon  the  sensitizing  bath 


The  Modern  Methods  of  Carbon  Printing. 


45 


and  immediately  push  it  under  the  surface  of  the  solution 
with  a flat  camel’s  hair  brush  or  sponge. 

Rock  the  tray  gently  and  re- 
move all  the  air-bells  and  scum 
that  gathers  on  the  back  of  the  tis- 
sue with  the  camel’s  hair  brush  or 
sponge.  In  about  one  minute,  or 
as  soon  as  the  gelatine  film  has  ab- 
sorbed enough  of  the  solution  to 
flatten  it  out,  turn  the  tissue  over  rubber  gloves. 
and  pass  the  brush  gently  over  the  entire  surface  of  the  film, 
to  remove  all  the  scum  or  air-bells  that  might  adhere  thereto. 

Then  again  turn  it  face  down,  carefully  avoiding  any 
violent  disturbance  of  the  solution,  which  would  cause  air- 
bells,  and  always  keep  the  tray  in  gentle  motion. 

At  the  end  of  about  three  minutes  the  tis- 
sue will  have  flattened  out  and  will  begin  to 
show  signs  of  curling  backward.  At  this 
stage  it  must  be  taken  from  the  solution,  and, 
after  well  draining,,  lay  it  face  down  upon 
a clean  plate  of  glass  somewhat  larger  than 
the  tissue.  (In  summer  keep  this  glass  cool. 
A good  way  to  do  this  is  to  immerse  it  in 
cold  water,  and  just  before  using  it  remove 
the  water  with  a soft  rubber  squeegee,  then 
pass  the  squeegee  over  it  from  center  to  side 
PHOTO  CLIP,  and  remove  all  the  superfluous  solution. ) 
Then  with  a clean,  dry  blotter  and  roller  scjueegee,  or,  if  pre- 
ferred, a clean  dry  sponge  remove  all  the  remaining  mois- 
ture, especially  around  the  margin  and  sometimes  on  the 
surface,  to  insure  a uniformly  even  surface  of  the  tissue 
when  dry.  ^ 


46 


The  Modern  Methods  op  Carbon  Printing. 


SEATS  ATTACHED  WITH  PHOTO  CLIPS. 


The  tissue  is  then  immediately  taken  from  the  glass  and 
placed  into  a stretcher  or  after  fastening  slats  to  top  and  bot- 
tom with  photo  clips  (Fig.  lo),  it  is  hung  up  to  dry.  In 
England,  the  most  common  mode  of  drying  a carbon  tissue, 
is  to  lay  it  over  a curved  cardboard  like  in  Fig.  ii.  The 
above  methods  are  ordinarily  employed  for  the  common  run 
of  studio  work,  and  are  sometimes  employed  in  large  estab- 
lishments. 

An  English  manufacturing  concern  has  recently  modi- 
fied their  method  of  sensitizing  carbon  tissue.  They  immerse 
it  in  the  usual  way,  but  only  for  one  minute,  and  then  attach 
slats  to  top  and  bottom  and  without  squeegeeing  hang  it  up 
to  dry.  Wall  uses  a five  per  cent  solution  of  bichromate  and 
dips  his  tissue  for  30  seconds  in  summer  and  ,45  seconds  in 
winter,  and  without  squeegeeing  hangs  it  up  to  dry.  He 
further  advises  the  operator  not  to  let  the  temperature  of  the 
bath  exceed  79*^  F.  (rather  high)  he  probably  meant  F. 

Drying  tissue  on  a squeegee  or  ferreotype  plate,  is  prob- 
ably the  very  best  and  most  practical  way  to  handle  a mod- 
erate amount  of  material.  Drying  it  in  this  manner,  the  film 
is  protected  from  dust  and  all  injurious  gases  and  vapors  that 
might  be  present,  and  when  it  leaves  the  plate  its  surface  is 
as  smooth  as  glass,  and  will  give  perfect  contact  to  the  nega- 


The  Modern  Methods  op  Carbon  Printing. 


47 


tive,  and  thus  insure  a picture  as  sharp  as  the  negative  will 
make  it. 


DRAWING  TISSUE  OVER  GLASS  ROD. 


For  carbon  printing  on  a large  scale,  a machine  may  be 
constructed,  which  will  sensitize  tissue  as  it  comes  from  the 
roll,  and  saves  a great  deal  of  time  and  labor. 

The  tissue  passes  from  the  roll  into  the  solution  at  a speed 
which,  at  a given  length  of  time,  passes  it  through  the  solu- 
tion and  out  at  the  opposite  end,  where  it  passes  between  two 
soft  rubber  rollers  that  do  the  squeegee  act  on  the  principle 
of  a clothes  wringer.  The  tissue  enters , into  the  solution 
face  upwards  and  passes  over  a flannel  pad  on  the  bottom  of 
the  tray.  The  scraping  action  of  the  flannel  prevents  any 
froth  or  air-bells  from  forming  on  the  back  o£  the  paper, 
while  the  face  is  kept  clear  with  a broad  camel’s  hair  brush 
in  the  hands  of  an  assistant.  When  the  entire  roll  has  passed 
through  the  solution,  it  is  hung  up  in  festoons  in  a properly 
constructed  drying-room,  having  a good  fresh  air  supply,  a 
ventilator  or  exhaust  fan  driven  by  electricity  or  a small 
water  motor,  will  keep  the  air  changing  and  will  dry  the  tissue 
quickly.  If  the  air  is  laden  with  moFture  a tray  of  lime  or 
chloride  of  calcium  must  be  placed  in  the  fresh  air  supply; 
and  the  air  Altered  through  gauze. 

The  temperature  of  the  room  ought  to  be  about  F. 
Of  course  it  stands  to  reason  that  all  trays  containing  water 
or  anything  that  would  cause  moisture,  must  be  removed 
from  the  room. . 


48 


The  Modern  Methods  op  Carbon  Printing. 


CHAPTER  XI. 


THE  DRYING  OF  SENSITIVE  CARBON  OR  PIGMENT  TISSUE. 

T TPON  the  proper 
drying  of  sensi- 
tized carbon  tissue, 
depends  to  a great  ex- 
tent, the  successful 

. . . , DRYING  TISSUE  OVER  CURVED  CARD. 

termination  of  the 

development  and  final  transfer  of  a perfect  carbon  picture. 

The  room  must  be  well  ventilated  and  dry,  and  as  free 
from  dust,  foul  gases  or  vapors,  as  possible. 

To  keep  the  air  pure  and  in  motion,  an  electric  exhaust 
fan  is  of  valuable  service.  An  open  chimney  or  fireplace 
will  answer,  providing  the  temperature  of  the  room  is  not 
too  high. 

Rapid  drying  of  carbon  tissue  is  very  essential  in  warm 
weather. 

The  qualities  imparted  to  a tis- 
sue by  proper  drying  are,  good  ad- 
hesiveness to  any  support  or 
medium ; and  an  easy  solubility, 
which  induces  a speedy  develop- 
ment, and  yields  vigorous  and 
brilliant  pictures,  with  pure  whites 
and  velvety  blacks ; beautiful 
half-tones  and  perfect  gradations 
in  all  parts  of  the  picture. 

The  temperature  of  the  drying 
room  must  be  as  low  as  possible  in 
summer,  and  if  the  air  is  loaded 


The  Modern  Methods  of  Carbon  Printing. 


49 


Avith  moisture  a tray  containing  lime  or  chloride  of  calcium 
must  be  placed  near  the  tissue. 

In  the  cool  days  of  Avinter  a temperature  of  70°  F.  at  the 
beginning  and  a gradual  increase  of  75°  F.,  AA’here  it  must 
be  maintained  until  the  tissue  is  dry. 

The  most  simple  AA'-ay  of  drying  tissue  is  to  arrange  sheets 
of  cardboard  curA^ed  like  Fig.  ii  or  a sheet  of  tin  covered 
Avith  a blotter  and  arranged  in  like  manner.  Immediately 
after  blotting  off  the  superfluous  solution,  place  the  tissue  face 
up  OA'er  the  curved  cardboard  and  place  it  in  the  air  current. 
Another  simple  Avay  is  to  fasten  thin  slats  of  AA’Ood  at  top 


and  bottom  Avith  photo  clips  and  suspend  it  on  a line,  like 
Fig.  10. 

It  should  be  borne  in  mind  that  the  air  near  the  ceiling 
has  a higher  temperature  and  is  drier  than  near  the  floor, 
consequently  the  tissue  should  be  suspended  high  up  in  the 
room. 

Drying  tissue  on  glass  or  squeegee  plates  is  extensively 
practiced,  and  can  be  highly  recommended.  It  keeps  the  film 
from  being  contaminated,  and  the  plate  and  tissue  may  be 
Avrapped  up  in  a porous  but  opaque  paper  and  placed  most 
anyAA’here,  in  a current  of  fresh  air. 

There  is  no  prescribed  rule  that  must  be  strictly  adhered 


50 


The  Modern  Methods  op  Carbon  Printing. 


to  in  sensitizing  or  drying  carbon  tissue.  The  printer  must 
be  governed  by  the  character  of  his  negatives  as  well  as  the 
strength  of  his  bichromate  solutions. 

Paper  sensitized  in  a strong  bath  should  not  occupy  nearly 
as  much  time  in  drying  as  that  sensitized  in  a weaker  one. 

The  most  essential  part  about  it  is,  that  the  tissue  be 
thoroughly  desiccated  in  a pure  atmosphere,  in  the  proper 
length  of  time  required  by  the  strength  of  the  solution  used, 
and  the  character  of  the  negatives  to  be  printed  from. 

The  length  of  time  occupied  in  drying,  ordinarily  re- 
quires from  three  to  five  hours,  and  should  never  be  allowed 
to  extend  over  eight,  or  less  than  two  hours.  Between  two 
and  four  hours  for  paper  sensitized  on  a normal  bath  will 
be  found  about  the  correct  time  to  impart  the  best  printing 
qualities. 

Tissue  that  has  occupied  but  a short  time  in  drying  ad- 
heres well  to  any  support  and  develops  readily  in  water  of 
a moderate  temperature ; but  it  is  not  nearly  so  sensitive  as 
that  which  has  occupied  a longer  time  in  drying.  If  such 
tissue  is  printed  upon  immediately  when  dry,  especially  if 
dried  very  rapidly,  there  will  be  a lack  of  gradation  or  the 
entire  loss  of  half-tones. 

If  such  be  the  case,  the  best  remedy  is  to  tint  the  paper 
(expose  the  film  side  of  the  tissue  to  diffused  light  for  a 
brief  period)  before  it  is  placed  upon  the  negative;  that 
will  invariably  remedy  the  fault  and  yield  the  desired  half- 
tones. As  the  paper  grows  older  this  difficulty  will  disap- 
pear, and  when  about  two  or  three  days  old  it  will  yield  the 
best  results. 

Carbon  tissue  dried  slowly  is  much  more  sensitive  to 
light,  and  prints  softer  than  if  dried  out  quickly,  but,  un- 
less the  negatives  are  strong  in  contrast,  the  picture  will  have 


The  Modeen  Methods  of  Carbon  Printing. 


51 


a dull,  flat,  sunken-in  appearance,  and  the  development  will 
be  slow  and  difficult. 

When  the  drying  is  extended  over  an  unusual  length  of 
time,  the  film  becomes  insoluble  and  loses  its  adhesive  prop- 
erties, and  consequently  becomes  entirely  insoluble  and 
worthless.  On  the  other  hand,  if  the  tissue  is  allowed  to 
dry  too  quickly  it  Avill  become  very  brittle  and  difficult  to 
handle.  Its  sensitive  properties  will  be  greatly  impaired, 
and  its  excessive  solubility  will  result  in  the  entire  loss  of 
half-tones  or  fine  details  in  the  picture,  and,  in  a great  many 
cases  it  will  cause  reticulation.  Excessive  solubility  is  there- 
fore, by  no  means  a desirable  cjuality,  and  it  will  be  well  to 
guard  against  too  rapid  drying,  unless  the  bichromate  bath 
is  at  least  double  strength,  and  contains  a considerable 
amount  of  alcohol,  and  ammonia,  and  if  high  speed  is  desired 
a little  chromic  acid  or  sulphate  of  manganese  would  help 
matters  considerably. 

A great  many  carbon  printers  prefer  to  sensitize  in  the 
evening  and  leave  the  tissue  suspended  until  morning,  when 
it  is  found  dry  and  ready  for  use  by  the  time  printing  opera- 
tions are  commenced. 

Although  this  may  be  a very  good  plan  and  all  right 
when  the  weather  is  favorable,  and  the  condition  of  the  at- 
mosphere in  such  a state  that  it  will  allow  the  tissue  to  be- 
come dry  in  about  six  or  seven  hours,  I myself  think  it  is 
best  to  sensitize  at  a time  when  the  progress  of  the  drying 
may  be  closely  \vatched,  and  the  tissue  be  taken  down  as 
soon  as  it  has  become  sufficiently  dry. 

When  once  dry  it  should  never  be  left  hanging  exposed 
to  the  influence  of  the  atmosphere,  but  should  be  put  away 
in  air-tight  tin  receptacles  or  boxes,  especially  if  it  is  to  be 
stored  away  for  future  use. 

Tin  receptacles  for  storing  sensitive  carbon  tissue  should 


52 


The  Modern  Methods  op  Carbon  Printing. 


be  made  perfectly  air-tight,  and  large  enough  to  permit 
enough  chloride  of  calcium  to  be  deposited  at  one  end  to 
absorb  the  moisture,  should  there  be  any. 

If  left  hanging  too  long,  the  film  becomes  horny  and 
brittle  and  is  difficult  to  manage ; and  when  wanted  for  use 
it  will  be  found  necessary  to  hang  it  over  a pan  of  steaming 
water  to  allow  it  to  absorb  enough  moisture  to  make  it  pli- 
able. This  never  has  a good  effect  on  the  printing  qualities 
of  the  tissue,  however,  especially  in  warm  weather,  and 
should  be  avoided  if  possible.  Carbon  tissue  wanted  for  im- 
mediate use  may  be  taken  down  when  quite  pliable. 


There  are  many  devices  for  rapidly  drying  carbon  tissue, 
of  which  the  following  is  probably  the  best : A box  or  cup- 
board with  shelves  arranged  like  in  Fig.  13,  has  a cone  at- 
tached to  it,  at  the  narrow  end  of  which  is  placed  a ventilator 
or  exhaust  fan ; at  the  other  end  is  a double  shutter  on 
hinges  made  to  shut  out  all  white  light  (shutter  must  be 
painted  red)  but  admits  the  air  freely.  A slide  made  like 
the  ones  in  the  plate  holder  of  a camera  is  so  arranged  as  to 
shut  off  any  space  not  in  use.  When  the  fan  is  set  in  motion 


The  Modern  Methods  of  Carbon  Printing. 


53 


the  air  is  rapidly  drawn  through  the  cabinet  over  the  surface 
of  the  soft  gelatine  film  which  causes  the  moisture  to  quickly 
evaporate  and  thus  hastens  the  drying  of  the  tissue.  If  the 
atmosphere  contains  considerable  moisture,  place  a tray  of 
lime  or  chloride  of  calcium  in  front  of  the  shutters  and  filter 
the  air  by  screening  the  shutters  with  gauze  or  cheesecloth. 

MARTON’5  NEW  RAPID  PROCESS 

OF  SENSITIZING  AND  DRYING  CARBON  TISSUE. 

Not  until  recently,  has  the  carbon  process  been  available 
for  quick  or  immediate  work,  on  account  of  the  prolonged 
drying,  and  the  time  necessary  to  bring  the  tissue  into  proper 
condition  for  printing. 

There  has  been  much  experimenting  done  within  the 
past  few  years,  to  overcome  this  one  objectionable  feature 
of  the  old  process,  and  it  affords  me  great  pleasure  to  say 
that  this  has  now  been  accomplished  to  the  great  satisfaction 
of  the  entire  profession. 

Of  the  many  improvements  that  have  been  made  in  the 
carbon  process  within  the  past  twenty  years,  there  are  none 
that  have  been  more  appreciated,  and  that  are  of  greater 
benefit  to  the  professional  carbon  worker,  than  our  new  rapid 
method  of  sensitizing  carbon  tissue,  is  to  the  carbon  printer 
and  advanced  amateur  of  today. 

It  reduces  this  operation  to  the  most  simple  form,  and 
does  away  with  the  mussy  and  unpleasant  method  of  soak- 
ing the  tissue  in  a bath  of  bichromate  until  it  becomes  satur- 
ated, and  then  requires  from  4 to  12  hours  drying  before  it 
can  be  used;  which  sometimes  is  almost  an  impossibility,  in 
a hof,  moist  atmosphere,  unless  the  proper  apparatus  and 
arrangements  for  rapid  drying  are  at  hand.  With  this  new 
method,  the  tissue  can  be  made  sensitive  and  dry,  ready  for 


54 


The  Modern  Methods  of  Carbon  Printing. 


use  in  five  minutes,  or  in  about  the  same  time  it  takes  to  put 
the  tissue  through  the  bichromate  sensitizing  bath,  after  the 
old  method. 

The  work  is  simple,  clean  and  expedient,  and  in  the  mat- 
ter of  economy,  nothing  better  could  be  devised. 

Carefully  prepare  the  sensitizing  solution  after  the  fol- 


lowing formula : 

Marten’s  Chromic  Sensitizer i ounce 

Water  (distilled  or  boiled  rain  water,  hot)... 8 ounces 

Alcohol  or  Columbian  Spirit 8 ounces 

Snip.  Ether  i ounce 

Ammonia  (88o)  14  ounce 


Dissolve  the  chromic  salts  in  the  hot  water  and  when 
cool,  gradually  add  the  ammonia  and  shake  well ; then  add 
the  mixture  of  alcohol  and  ether  a little  at  a time,  and  again 
shake.  Allow  the  precipitate  to  settle,  and  filter  through 
cotton.  Cover  the  funnel  to  keep  the  spirit  from  evaporat- 
ing. This  sensitizer  must  be  kept  in  a well-stoppered  bottle 
and  stored  in  a dark  place  when  not  in  use. 

To  Sensitize. — Place  the  tissue,  film  side  up,  on  a clean 
surface,  and  apply  the  solution  with  a good  soft  brush  or 
silken  sponge.  Pass  the  brush  over  the  film,  both  ways,  to 
distribute  the  solution  as  uniformly  over  its  surface  as  pos- 
sible. If  a drying  box  is  at  hand,  the  tissue  will  be  dry  and 
ready  for  use  in  five  minutes,  and  will  yield  prints  in  every 
way  equal  to  those  printed  on  tissue  that  had  been  saturated 
with  bichromate,  and  took  hours  to  dry.  The  chromic  sen- 
sitizer penetrates  only  into  the  immediate  surface  of  the  film, 
consequently  there  is  but  very  little  chromium  salts  brought 
into  actual  use  by  this  process. 

So  long  as  the  immediate  surface  of  the  tissue  is  only 
affected  by  the  sensitizer,  the  chromic  salts  may  very  easily 
be  removed  and  the  tissue  rendered  entirely  insensitive  to 


The  Modern  Methods  of  Carbon  Printing. 


55 


light.  Take  two  prints  and  pin  them,  back  to  back,  and  let 
them  soak  in  several  changes  of  clean,  cold  water  for  about 
fifteen  or  twenty  minutes,  then  immerse  in  a 5 per  cent  solu- 
tion of  anti-chrome  for  five  or  ten  minutes  and  after  again 
rinsing,  hang  them  up  to  dry. 

Exposed  tissue  treated  in  this  manner  will  be  entirely 
insensitive  to  light,  and  may  be  developed  at  any  future  time. 
Development  is  affected  in  the  usual  way  with  the  exception 
that  there  need  be  no  precautions  taken  in  regard  to  pro- 
tecting the  tissue  against  light. 


56 


The  Modern  Methods  of  Carbon  Printing. 


CHAPTER  Xli. 


CARE  OE  THE  SENSITIVE  TISSUE. 

A S I have  previously  stated  pigment  tissue  in  a wet  state 
^ is  not  very  seriously  affected  by  ordinary  diffused 
light ; but,  when  once  dry,  it  is  from  three  to  six  times  as 
sensitive  as  albumen  or  aristo  paper,  and  must,  therefore, 
be  well  protected  against  the  injurious  effects  of  white  or 
actinic  light. 

Nothing  definite  can  be  said  regarding  the  keeping  quali- 
ties of  a sensitive  tissue.  It  is  something  that  greatly  de- 
pends upon  local  conditions  and  manner  of  treatment.  Some- 
times, especially  in  the  hot  days  of  summer,  tissue  that  has 
been  sensitized  one  day,  will  be  quite  insoluble  the  next ; and 
then  again,  it  will  keep  in  good,  soluble  condition  for  several 
weeks,  and  sometimes  for  months,  in  winter  if  properly  taken 
care  of. 

Usually,  a good  carbon  tissue,  if  properly  sensitized  and 
dried  under  favorable  conditions,  will,  if  stored  in  air-tight 
tin  boxes  or  tubes,  keep  in  good  working  order  for  two  or 
three  weeks  in  winter,  and  from  four  to  six,  and  sometimes 
ten  days  in  the  summer. 


PRESERVING  BOX  FOR  SENSITIVE  TISSUE. 


The  Modern  Methods  op  Carbon  Printing. 


57 


Carbon  paper,  intended  to  be  stored  for  a considerable 
length  of  time,  must  be  thoroughly  desiccated  in  a pure  at- 
mosphere, and  then  put  face  downward  upon  a clean  piece 
of  soft  paper  and  rolled  up  film  outward.  The  paper  cover- 
ing the  face  of  the  tissue  will  prevent  the  hands  from  com- 
ing in  contact  with  the  sensitive  film,  and  will  otherwise 
protect  it  from  injury.  Paper  rolled  with  the  film  outward 
is  much  easier  handled  during  printing  operations  than  when 
rolled  the  opposite  way. 

The  tin  receptacle  in  which  to  store  the  roll  of  sensitive 
tissue  should  have  a fairly  good  diameter  and  be  long  enough 
to  allow  a small  quantity  of  chloride  of  calcium  wrapped  in 
tissue  paper,  to  be  stored  at  the  top  ( for  the  purpose  of  keep- 
ing the  tube  free  from  moisture. ) 

The  roll  of  sensitive  tissue  must  be  well  wrapped  in  pa- 
per to  keep  out  all  dust  that  might  arise  from  the  lime  or  cal- 
cium. A band  of  rubber  tape  placed  around  the  rim  of  the 
cap  or  cover  like  on  platinotype  tubes  will  make  the  receptacle 
perfectly  air  tight. 

Tissue  having  the  sensitizing  agent  incorporated  during 
the  process  of  manufacture,  has  much  better  keeping  quali- 
ties than  plain  tissue  made  sensitive  in  a bichromate  bath. 


FLAT  PAPER  HOLDER. 


A great  deal  also  depends  upon  the  ingredients  and  qual- 
ity of  the  material  employed  in  the  manufacture  of  the  tissue, 
especially  the  gelatine.  A pigment  paper  prepared  with  ordi- 


The  Modern  Methods  op  Carbon  Printing. 


58  • 


nary  gelatine  is  soluble  at  a much  lower  temperature  and 
has  much  better  keeping  cjualities  than  tissue  made  of  the 
finer  grades,  but  the  latter  yields  the  finest  pictures. 

' REMARKS. 

When  carbon  tissue  in  rolls  has  not  been  properly  stored 
it  will  become  dry  and  horny,  and  will  be  so  brittle  that  it 
will  be  found  quite  difficult  to  handle  without  breaking  or 
injuring  the  film. 

The  only  remedy  for  tissue  in  this  condition,  is  to  expose 
it  to  moisture  until  it  becomes  perfectly  pliable.  It  can  then 
be  immersed  into  the  sensitizing  bath  without  difficulty  or 
may  be  rolled  face  out  and  stored  in  tin  receptacles,  in  which 
it  will  retain  sufficient  moisture  to  keep  it  pliable  for  future 
use. 

If  the  end  of  a roll  of  carbon  tissue  that  has  become  dry 
and  brittle  be  fastened  in  between  two  slats  of  wood  and  hung 
up  in  a damp  place  with  the  roll  hanging  down,  the  film  will 
absorb  the  moisture  and  as  it  becomes  pliable,  it  will  gradu- 
ally unroll  itself  by  its  own  weight  without  creasing  or 
breaking,  and  may  be  handled  with  very  little  difficulty. 

The  only  way  to  keep  tissue  in  a good  pliable  state  is  to 
store  it  in  tin  receptacles.  Another  splendid  way  to  keep 
the  tissue  in  a good  manageable  condition,  is  to  take  the  roll 
when  fresh  and  pliable,  and  roll  it  film  side  out  around  an 
inch  roller. 

The  film  must,  of  course,  be  covered  with  a soft  paper  to 
prevent  finger  marks  and  other  injurious  contact.  In  this 
way  the  tissue  is  easily  managed,  and  if  it  becomes  dry  or 
brittle  there  will  be  no  danger  of  cracking  or  breaking  the 
film. 

Squeegee  plates  that  are  used  for  the  purpose  of  drying 


The  Modern  Methods  op  Carbon  Printing. 


59 


sensitive  tissue  upon,  must  be  well  washed  in  hot  water  be- 
fore applying-  the  French  chalk  or  ox  gall. 

The  plates  must  be  perfectly  dry  and  the  chalk  well  rub- 
bed in  over  the  entire  surface.  Dust  off  well  with  a camel’s 
hair  duster,  and  then  rub  with  a clean  flannel  until  appar- 
ently all  traces  of  chalk  have  disappeared. 

It  is  well  to  bear  in  mind  that  a bichromate  solution  of 
high  strength  will  render  the  tissue  extremely  sensitive, 
and  that  the  keeping  qualities  of  very  sensitive  tissue  are 
not  as  good  as  that  of  tissue  sensitized  on  a bath  of  medium 
strength.  For  this  reason  it  should  be  thoroughly  desiccated 
in  a pure  atmosphere  in  summer,  and  stored  away  in  air- 
tight tin  receptacles  in  a dry,  cool  place.  Never  omit  the 
lime  or  calcium  at  the  top  of  the  tube. 

A highly  sensitive  tissue  has  a tendency  to  produce  soft- 
ness and  produces  flat,  sunken-in  appearing  pictures,  unless 
the  negatives  are  sufficiently  strong  in  contrast.  It  will  re- 
ticulate and  become  very  easily  insoluble  in  warm  weather. 

A carbon  tissue  that  dries  out  cjuickly,  has  better  keeping 
qualities  than  that  which  has  occupied  a longer  time  in  dry- 
ing, but  is  not  nearly  so  sensitive.  It  is  very  readily  soluble 
and  the  development  is  cpuckly  done.  These  qualities  more 
than  compensate  for  the  slowness  in  speed. 

Bichromate  of  sodium  is  the  least  expensive  and  makes 
a good  bath  for  summer  use,  but  the  tissue  will  absorb  mois- 
ture more  readily  than  if  it  had  been  sensitized  on  any  other 
kind  of  a bath,  and  is  therefore  best  suited  for  a dry  at- 
mosphere. 

In  hot  weather  a few  drops  of  a ten  per  cent  solution  of 
bichloride  of  mercury  will  prevent  reticulation. 

Never  forget  to  remove  the  dust  from  the  face  and  back 
of  the  tissue  just  before  immersing  it  into  the  bichromate 
solution.  And  if  there  are  any  signs  of  mold  or  mildew  it 


60 


The  Modern  Methods  op  Carbon  Printing. 


must  be  removed  with  a soft  chamois  or  tuft  of  filtering  cot- 
ton, and  then  well  dusted. 

e;ffects  of  tfmpfraturf  and  climatic  conditions  on 
SFNSITIVF  CARBON  TISSUE. 

Carbon  printers  in  the  different  parts  of  the  country,  all 
have  their  trouble  to  contend  with ; which  arises  from  vari- 
ous causes,  and  are  peculiar  to  the  climatic  conditions  of  the 
country  which  they  live  in. 

Thus,  the  high  temperature  of  Southern  climes  causes 
excessive  dryness  of  the  tissue,  and  in  localities  where  there 
is  excessive  moisture  it  hastens  insolubility. 

The  excessive  cold  in  winter  in  the  north  also  brings  its 
trouble,  but  being  dry  it  is  much  easier  to  overcome  than 
excessive  heat  and  moisture. 

The  humidity  of  atmosphere  in  countries  bordering  on 
the  Atlantic  and  Pacific  oceans,  has  its  peculiar  effects  upon 
the  tissue,  especially  in  the  southern  portions  where  excessive 
heat  and  moisture  prevails  at  all  seasons  of  the  year.  And 
likewise  the  excessively  light  and  dry  air  and  the  bad  w'ater 
of  mountain  and  alkali  countries,  brings  on  its  peculiar 
trouble. 

All  these  difficulties  may  easily  be  overcome  by  closely 
observing  the  rules  regarding  temperature  and  atmospheric 
conditions  and  paying  strict  attention  to  the  directions  given 
for  the  sensitizing  and  drying  of  the  tissue,  and  the  purity 
of  the  water  used  for  transferring  and  development. 


The  Modern  Methods  op  Carbon  Printing. 


61 


Pert  II. 


CHAPTER  I. 


The:  ne:gative:. 

T N THE  carbon,  like  in  every  other  photographic  printing 

process,  the  quality  and  fineness  of  the  resulting  pictures 
greatly  depends  upon  the  character  and  printing  qualities  of 
the  negatives  employed. 

Therefore,  all  negatives  that  are  made  expressly  for  car- 
bon printing  should  be  made  as  nearly  in  accordance  with 
the  requirements  of  the  process  as  possible,  to  obtain  the  best 
results  that  can  be  produced  by  this  process. 

Although  it  is  quite  possible  to  obtain  beautiful  pictures 
from  thin  or  medium  grade  negatives,  yet  to  insure  the  most 
perfect  results,  it  is  best  to  employ  negatives  of  good  density 
and  fine  gradation. 

The  qualities  essential  for  the  making  of  good  carbon 
pictures  are : 

1.  Brilliant,  and  yet  soft  and  harmonious  lighting. 

2.  Transparent  and  well  illuminated  shadows  with  plenty 
of  detail ; brought  out  by  a liberal  exposure  and  careful  de- 
velopment. 

3.  A clean,  clear  development  that  gives  pureness  and 
richness  of  tone,  and  the  necessary  snap  so  desirable  for  the 
production  of  fine  and  brilliant  carbon  pictures. 

Avoid  as  much  as  possible,  inappropriate  backgrounds 
and  accessories.  The  former  should  be  in  harmony  with  the 


62 


The  Modern  Methods  op  Carbon  Printing. 


subject  and  accessories,  either  light  or  dark  as  the  case  may 
be ; and  the  latter  should  be  suited  to  the  tone  and  style  of 
the  back  ground,  as  well  as  color  and  style  of  drapery  worn 
by  the  subject.  A light  ground  requires  delicate,  dainty  ac- 
cessories, and  a dark  background,  massive  and  carved  an- 
tique. Heavy,  rich  draperies  and  fine  rugs  with  mounted 
heads,  and  the  judicious  use  of  fine  vases,  flowers  and  statu- 
ary, produce  very  elegant  effects. 

It  is  not  within  the  scope  of  this  work  to  give  a detailed 
description  of  the  various  methods  now  in  vogue  to  produce 
negatives  that  are  possessed  of  qualities  prescribed  for  the 
production  of  artistic  effects  in  carbon  printing.  I will, 
therefore,  only  give  a few  passing  remarks  upon  this  subject. 

There  are  numerous  very  clever  workmen  among  the 
great  army  of  photographers  in  this  country,  whose  artistic 
ability  and  superior  workmanship  places  them  far  above  the 
average  professional.  Some  of  them  have  followed  the  paths 
of  the  great  masters  in  painting  and  photography,  and  from 
them  have  adopted  or  chosen  a style  peculiar  to  their  ideas 
of  art  in  photography. 

To  the  latter  the  carbon  process  certainly  must  be  a rev- 
elation, for  it  is  a process  capable  of  gratifying  the  most  ex- 
travagant wishes  or  ideas  entertained  by  the  most  fastidious 
photographer. 

The  prevailing  styles  in  which  carbon  pictures  are  now 
finished  are  rich  and  elegant.  The  carbon  porcelains  espe- 
cially, are  becoming  very  popular. 

Pictures  from  ordinary  negatives,  if  made  by  the  single 
transfer  process,  will  be  reversed ; therefore,  if  it  is  desired 
to  have  them  in  their  true  positions,  either  the  double  trans- 
fer process  must  be  resorted  to  or  the  negatives  must  be  pre- 
viously reversed  in  order  to  bring  the  image  into  its  proper 
position. 


The  Modern  Methods  of  Carbon  Printing. 


63 


The  work  necessary  to  reverse  a negative  film  for  single 
transfer  printing,  is  very  simple,  and  may  be  accomplished 
by  resorting  to  any  of  the  well  known  methods  now  in  use. 
Probably  the  most  simple  of  all  is  to  reverse  the  image  in  the 
camera,  by  simply  turning  the  plate  with  the  glass  side  to- 
wards the  lens.  Select  a plate  that  is  free  from  scratches 
or  blemishes  of  any  kind,  and  one  that  has  as  little  curve  to  it 
as  possible.  ‘Clean  the  glass  well  and  place  a piece  of  red  or 
black  velvet  or  paper  to  the  film  side  to  prevent  injury  from 
the  spring. 

If  the  plate  is  a thin  one  the  focus  need  not  be  adjusted ; 
should  it  be  a thick  one,  however,  move  the  holder  forward 
enough  to  allow  for  the  thickness  of  the  glass. 

This  method  gives  good  results  and  causes  but  little  ex- 
tra work  or  trouble. 

Transparent  celluloid  films  are  well  adapted  for  carbon 
printing.  On  account  of  the  thinness  of  the  film,  they  may 
be  printed  from  either  side  without  a perceptible  difference 
in  the  sharpness  of  the  image. 

The  safest  and  best  way,  however,  is  to  use  stripping 
plates.  These  may  be  had  in  almost  any  brand,  Orthochro- 
matic  and  Nonehalation,  just  as  desired,  and  as  a usual 
thing,  they  are  plates  of  fine  quality  and  give  excellent  re- 
sults. 

A good  way  to  proceed  is  to  retouch  the  negative  before 
stripping  then  flow  with  a rather  tough  collodion  or  var- 
nish, and  when  dry  flow  again  with  a thick  solution  of  chro- 
mated  gelatine : 

Gelatine i ounce 

Water 8 ounces 

Chrome  alum  20  grains 

Alcohol  I ounce 

Glycerine  i dram 


64 


The  Modern  Methods  op  Carbon  Printino. 


Allow  the  gelatine  to  absorb  all  the  water  it  will  in  about 
an  hour,  and  then  dissolve  by  gentle  heat  in  a water  bath. 
Dissolve  the  alum  in  hot  water  and  add  a little  at  a time 
while  continually  -stirring  the  solution.  Then  add  an  ounce 
of  common  alcohol  in  the  same  manner,  and  coat  the  plate 
resting  on  a level  stand.  The  solution  must  be  warm  enough 
to  flow  evenly  when  poured  upon  the  negative.  This'  is  best 
done  by  pouring  a sufficient  quantity  upon  the  center  of  the 
plate  and  guiding  it  to  the  sides  with  a feather.  When  the 
gelatine  has  set,  stand  the  plate  on  end  to  dry. 

When  dry,  cut  the  film  through  to  the  glass  about  an 
eighth  of  an  inch  from  the  edge,  and  strip  it  from  the  glass. 

You  will  now  have  a tough  film  that  will  not  curl  and 
may  be  printed  from  either  side,  just  as  desired,  by  placing  it 
against  a clear  glass.  If  necessary,  more  improvements  may 
be  made  on  the  other  side  of  the  film  with  brush  and  pencil. 

To  one  who  has  never  used  stripping  plates  it  may  seem  a 
very  difficult  proceeding,  but  such  is  not  the  case;  after  a 
trial  or  two,  it  will  be  found  quite  easy. 

The  latest  invention  in  stripping 
films  is  a heavy  paper  coated  with  a neg- 
ative emulsion.  It  is  exposed  the  same 
as  a plate  and  developed  like  bromide 
paper,  hardened  and  mounted  on  a 
clear  glass  that  has  previously  been 
coated  with  a chromated  gelatine. 
When  the  film  has  become  perfectly 
dry,  the  paper  support  is  stripped,  and  the  negative  film  re- 
mains firmly  attached  to  the  glass  and  may  now  be  retouched 
and  treated  just  like  any  other  negative.  The  work  is  sim- 
ple, safe  and  easy,  and  promises  to  do  wonders  for  the  ad- 
vancement of  the  carbon  process. 


PRISM. 


The  Modern  Methods  of  Carbon  Printing. 


65 


Pictures  made  from  ordinary  or  non-reversed  negatives 
are  brought  into  their  proper  position  by  resorting  to  the 
double  transfer  process. 

For  those  doing  an  extensive  business  in  carbon  print- 
ing, prisms  or  reversing  mirrors  are  the  proper  things. 

PRISMS. 

Prisms  that  are  accurately  made 
so  that  the  three  surfaces  work  per- 
fectly in  harmony  with  each  other; 
and  of  glass  free  from  all  optical  im- 
perfections; are  quite  as  expensive 
as  high  class  lenses.  Unless  a prism 
is  perfect  in  every  way,  it  will  be 
found  impossible  to  get  absolutely 
sharp  pictures  with  it. 

RE^VkRSING  MIRRORS. 
Reversing  mirrors,  employed  to 
correct  the  negative  for  single  trans- 
fer printing,  differ  from  the  ordinary  mirror,  in  that  the 
glass  is  silvered  on  the  surface  exposed ; which  must  be  op- 
tically plane.  The  work  requires  as  much  skill  on  the  part 
of  the  optician  as  the  making  of  a high  grade  lens. 

The  mounting  must  be  done  in  a well  seasoned  wood 
frame,  loose  enough  to  be  free  from  pressure  in  every  way. 
Even  a slight  pressure  will  curve  the  glass,  though  it  be 
quite  thick,  which  will  cause  distortion  and  make  the  image 
quite  imperfect. 


66 


The  Modern  Methods  op  Carbon  Printing. 


CHAPTER  II. 


STRIPPING  AND  REVERSING  NEGATIVES  MADE  ON  ORDINARY 

DRY  PEATES. 


O REVERSE  the  film  of  an  ordinary  dry  plate  the 


following  mode  of  procedure  will  be  found  simple 
and  reliable : 

Dissolve  I ounce  sulphite  of  soda  and  2 ounces  of  alum 
in  15  ounces  of  rain  water;  filter,  and  immerse  the  negative 
in  this  solution  for  twenty  minutes ; wash,  dry,  and  coat  the 
plate  with  a tough  collodion  to  keep  the  film  from  expanding. 

Plain  collodion  (2  p.  c.) 10  ounces 

Castor  oil  i dram 

As  soon  as  the  collodion  has  set  (not  dry)  immerse  the 
plate  in  the  following  solution  contained  in  a rubber  tray ; 

Alcohol  5 ounces 

Water  (soft)  5 ounces 

Hydrofluoric  acid  i dram 

Rock  the  tray  gently  and  avoid  getting  the  fingers  into 
the  solution  if  possible.  Hydrofluoric  acid,  when  carelessly 
handled,  is  rather  dangerous. 

After  a few  minutes  the  edges  of  the  film  will  begin  to 
rise ; it  may  then  be  stripped  from  the  glass  and  washed  for 
a few  minutes  in  ec|ual  parts  of  alcohol  and  water  to  which 
a few  drops  of  ammonia  have  been  added.  A clear  glass, 
previously  coated  with  a partly  insoluble  gelatine  and  dried, 
is  then  slipped  under  the  reversed  film  and  gradually  lifted 
out  of  the  water. 


The  Modern  Methods  op  Carbon  Printing. 


67 


Lay  the  plate  holding  the  film  down  flat  on  the  table  and 
cover  it  with  a rubber  cloth,  then  apply  the  squeegee  very 
carefully  and  bring  the  film  and  glass  into  intimate  contact, 
which  completes  the  operation. 

Hydrofluoric  acid  destroys  the  enamel  on  glass  and 
therefore  must  be  kept  in  rubber  receptacles. 

The  following  is  another  good  method : After  develop- 
ment, the  negative  is  fixed  and  washed  in  the  usual  way. 
Then  place  it  for  five  minutes  into  a solution  composed  of : 

Water  lO  ounces 

Formalin  i ounce 

Glycerine  2 drams 

Dry  without  washing.  If  the  plates  to  be  stripped  have 
been  dried  and  are  probably  old  plates  that  have  been  re- 
touched, remove  the  retouching  varnish  with  alcohol,  and 
let  them  soak  in  clean,  cold  water  for  at  least  a half  hour, 
then  immerse  for  about  ten  minutes  in  the  formalin  and  let 
dry  as  before.  When  dry  coat  with  a collodion  made  after 
the  following  formula : 


Amyl  Acetate  i ounce 

Columbian  spirit  2 ounces 

Ether  i ounce 

Gun  cotton  48  grains 


Let  dry  for  a day  and  then  cut  around  the  edge  with  a 
sharp  knife,  and  strip  the  film  from  the  glass. 

To  keep  the  film  from  curling,  coat  again  on  the  opposite 
side. 

My  favorite  method  is  the  following:  Take  a negative 
that  has  been  dried  and  allow  it  to  become  well  water- 
soaked  and  then  immerse  it  into  a 10  per  cent  solution  of 
formalin  to  which  add  a few  drops  of  glycerine,  and  let  it 
dry  without  washing. 

When  perfectly  dry,  cut  the  film  through  to  the  glass 


68 


The  Modern  Methods  op  Carbon  Printing. 


about  one-eighth  of  an  inch  from  the  edge,  and  flow  it  with  a 
2 per  cent  collodion,  which  is  allowed  to  set,  and  is  then 
rinsed  under  the  top  until  the  water  flows  smoothly  over 
its  surface. 

The  plate  is  then  immersed  in : 


Water  lo  ounces 

Hydrofluoric  acid  i dram 


The  most  expedient  way,  however,  is  to  cut  the  fllm 
through  to  the  glass,  and,  without  previously  soaking,  put 
it  into  the  formalin  solution  for  5 to  10  minutes;  then  rinse 
until  the  water  flows  smoothly  over  the  surface.  Then  im- 
merse into  the  Hydrofluoric  acid  solution  as  above. 

Rock  the  tray  gently,  and  when  the  film  begins  to  pucker 
up  around  the  edge,  lift  the  plate  from  the  solution  and  press 
a moist  piece  of  blotting  paper,  a trifle  large  than  the  nega- 
tive against  the  film.  Now  lift  up  one  corner  of  the  paper, 
and  the  negative  film  will  adhere  thereto  as  it  is  pulled  away 
from  the  glass.  The  negative  film  now  resting  on  the  blotter 
is  then  carefully  rinsed  under  the  tap.  Now  moisten  a piece  of 
good,  firm  writing  paper  and  press  it  against  the  film  rest- 
ing on  the  blotting  paper,  then  turn  it  over  and  carefully 
remove  the  spongy  blotter  and  again  rinse  the  film  under  the 
tap,  to  remove  all  traces  of  acid.  A glass  plate,  which  has 
previously  been  coated  with  an  insoluble  substratum,  is  now 
immersed  in  clean,  cold  water  to  soften  the  gelatine;  then 
place  the  negative  film  resting  on  the  paper  in  contact  there- 
with, and  carefully  pass  the  squeegee  over  the  back  of  the 
paper,  to  bring  it  in  perfect  contact  with  the  glass ; now 
raise  one  corner  of  the  paper  and  carefully  remove  it,  leav- 
ing the  negative  film  firmly  attached  to  the  glass,  which 
then  completes  the  operation. 

If  the  film  is  transferred  to  a very  thin  transparent  cel- 
luloid it  may  be  printed  from  on  either  side.  Double  coating 
it  with  collodion  does  almost  as  well. 


The  Modern  Methods  op  Carbon  Printing. 


69 


fluoride;  of  sodium. 

Instead  of  hydrofluoric  acid,  fluoride  of  sodium  may  be 
used.  Its  action  is  somewhat  slower,  but  the  final  results 
are  the  same  and  has  the  advantage  of  being  handled  with- 
out danger.  This  may  be  kept  in  glass  bottles  and  in  a dry 
state. 

The  following  is  a good  proportion  for  the  average  plate : 


Fluoride  of  sodium  2 drams 

Soft  water  15  ounces 


Under  ordinary  conditions  the  film  will  begin  to  rise  in 
five  or  six  minutes.  If  pyrogallic  acid  had  been  used  for  de- 
velopment, a little  addition  of  fluoride  will  hasten  the  action. 

If  desirable,  the  negative  film  may  be  enlarged  consider- 
ably by  adding  20  grains  of  citric  acid  to  the  above  solution 
and  omitting  the  collodion.  Place  the  detached  film  in  cold 
water  until  the  desired  enlargement  has  been  affected,  and 
then  mount  on  a clean  glass  plate  as  previously  directed. 

HYDROCHLORIC  ACID. 

Stripping  with  hydrochloric  acid  is  a favorite  method 
with  a good  many  process  workers.  Nearly  every  one  is  fa- 
miliar with  the  use  of  this  acid  in  their  every  day  practice. 
It  is  considerably  less  dangerous  than  hydrofluoric  acid  and 
is  easily  obtainable.  Will  keep  in  glass  bottles,  and  is  not 
nearly  so  expensive. 

Prepare  the  negative  as  previously  directed,  unless  it  is 
desired  to  enlarge  the  film,  and  proceed  in  the  following 
manner : 

Into  a clean  porcelain  tray  pour  10  ounces  of  distilled 
water,  and  add  i ounce  of  the  acid.  Immerse  the  negative 
and  rock  the  tray  gently  for  a few  minutes,  then  rub  the 
edges  slightly  to  start  the  film  to  rise.  When  the  film  has 
become  entirely  detached,  rinse  it  in  clean  water  and  after 
turning  it  over  transfer  it  to  a clean  glass  plate  as  previously 
directed. 


70 


The  Modern  Methods  of  Carbon  Printing. 


revi:rsing  and  Transferring  the  image  to  another 

PRATE  BY  CONTACT. 

Another  very  simple  manner  of  reversing  the  image  is 
by  excessive  over-exposure.  This  is  an  old  method  but  has 
never  been  extensively  practiced.  The  main  reason  is  be- 
cause it  takes  just  a little  experimenting  to  find  out  the  exact 
length  of  time  to  make  a correct  exposure  on  negatives  of 
different  densities  and  color.  Usually  the  first  trial  is  de- 
ficient in  exposure  or  the  plate  is  not  fully  developed. 

To  be  successful  proceed  as  follows:  Select  a plate  of 

medium  speed  and  as  flat  as  possible,  and  expose  it  under  the 
negative  to  direct  sunlight,  or  diffused  light,  in  the  open  air. 
The  length  of  exposure  varies  from  three  to  thirty  seconds, 
owing  to  the  density  of  the  negative  and  strength  of  the 
light.  For  a medium  negative  ten  seconds  will  be  sufficient. 

If  the  resulting  negative  is  flat,  foggy,  and  wanting  in 
vigor,  it  is  under-exposed,  and  the  remedy  is  more  time.  If 
it  comes  up  hard  and  harsh,  it  is  overtimed  and  less  time  is 
the  proper  remedy. 

When  once  familiar  with  this  method  it  may  be  turned 
to  profitable  advantage,  and  oftentimes  the  original  negative 
can  be  improved  upon. 

Artificial  light  may  be  employed  instead  of  daylight  if 
more  convenient. 

The  exposure  varies  according  to  the  intensity  of  the 
light.  For  instance,  for  an  ordinary  gas  flame  at  fifteen 
inches  distance,  minutes,  instead  of  seconds  that  would  be 
proper  time  by  daylight,  will  be  found  about  correct.  A 
Welsbach  incandescent  gas  burner  is  about  equal  to  one- 
fourth  the  intensity  of  diffused  daylight. 

When  taking  a negative  from  the  dark  room  to  the  light, 
it  should  be  well  protected,  and  exposed  as  carefully  as 
though  it  had  been  done  in  the  camera. 


The  Modern  Methods  op  Carbon  Printing. 


71 


The  light  must  come  direct  and  no  oblique  rays  allowed 
to  creep  under  the  edges. 

After  the  exposure  has  been  made,  again  protect  the  plate 
while  taking  it  to  the  dark  room  for  development,  which  is 
done  in  the  usual  way. 

When  the  exposed  plate  is  examined  by  the  light  of  the 
dark-room,  a faint  positive  image  will  be  visible,  which  re- 
mains on  the  plate  even  after  development,  but  can  be  re- 
moved. 

The  development  is  best  done  with  old  developer  or  one 
that  contains  considerable  restrainer.  When  the  plate  is 
immersed  into  the  developing  solution  it  will  immediately 
flash  up  and  turn  black  all  over  the  surface  like  a plate  which 
has  been  fogged.  This  makes  it  impossible  to  judge  the 
progress  of  the  development  by  the  appearance  of  the  plate, 
and  consequently  must  be  done  by  time.  The  best  way  to 
proceed,  is  to  immerse  the  plate  as  long  as  it  takes  to  develop 
a normally  exposed  negative,  and  then  add  two  minutes  to 
make  sure  that  it  has  not  been  under-developed. 

Fix  the  negative  in  the  usual  way  and  rinse  in  clean 
water,  then  immerse  in  a weak  solution  of  cyanide  of  pot- 
ash, to  which  a few  drops  of  tincture  of  iodine  have  been 
added,  to  remove  the  positive  which  appears  as  a slight  veil 
on  the  shadows  previously  spoken  of.  This  will  clear  it 
nicely;  but  must  be  handled  with  care — cyanide  of  potash 
is  poison. 

Wherever  this  method  is  successfully  employed,  it  will 
be  found  to  have  one  advantage  over  those  previously  de- 
scribed— the  original  negative  remains  unaltered  and  may 
be  used  for  the  production  of  positive  prints  by  any  other 
process  for  which  the  reversal  of  the  image  is  not  required. 

The  newest  method  of  obtaining  a negative  from  a nega- 
tive and  a positive  from  a positive,  exactly  like  the  original, 


72 


The  Modern  Methods  op  Carbon  Printing. 


excepting  that  they  be  reversed,  is  the  acid  permanganate  of 
potash  process. 

A good  plate  is  amply  exposed  back  of  a negative,  and 
developed  with  a developer  capable  of  carrying  the  image 
to  its  full  depth,  which  is  strictly  necessary  in  this  case.  The 
plate  should  be  left  in  the  solution  until  the  image  appears 
plainly  on  the  back ; it  sometimes  gets  a little  foggy,  which 
will  do  no  harm  whatever. 

After  the  plate  has  been  fully  developed,  rinse  it  well  in 
clean  water  and  then  immerse  it  into  acid  permanganate 
solution,  composed  as  follows  : 


Permanganate  of  potash  2 grams 

Sulphuric  acid  20  c.  c. 

Water  1000  c.  c. 


This  bath  acts  very  quickly  and  when  all  of  the  black 
image  has  disappeared  it  may  be  taken  out  of  the  solution. 
The  negative  image  thus  formed  is  composed  of  non-reduced 
silver  bromide. 

The  following  operations  may  take  place  in  a good, 
strong  light : 

The  brown  color  caused  by  the  formation  of  manganese 
binoxide  from  the  permanganate  must  first  be  cleared  away 
by  immersion  in  a one  per  cent  solution  of  oxalic  acid. 

Then  wash  the  plate  well  to  get  rid  of  the  oxalic  acid 
and  redevelop  with  a good  metol  developer. 


Metol  10  grams 

Sulphite  of  soda  40  grams 

Caustic  soda  5 grams 

Water  1000  c.  c. 


The  development,  which  takes  place  very  rapidly  is  best 
done  in  a good,  strong  light. 

When  the  image  has  gained  the  proper  strength  rinse  and 
stand  on  a rack  to  dry. 


The  Modern  Methods  op  Carbon  Printing. 


73 


Fixing  in  hypo  is  not  necessary  after  the  second  develop- 
ment. 

The  quality  of  the  resulting  negative  depends  entirely 
upon  the  first  development;  which  should  be  carried  just  as 
far  as  possible,  fog  or  no  fog. 

If  the  image  is  found  too  vigorous,  it  may  again  be  re- 
duced in  a solution  of  permanganate,  and  treated  as  before, 
to  a bath  of  a one  per  cent  solution  of  oxalic  acid,  and  well 
rinsed. 

Should  there  be  a tendency  to  softening  or  frilling  in 
the  permanganate  bath,  add  a little  alum,  which  will  invari- 
ably correct  that  fault. 

Another  way  to  make  a negative  from  a negative : 

Make  the  following  two  solutions  : 


No.  I. 

Water  looo  parts 

Sulphite  of  soda 50  parts 

Hydrochinone  20  parts 

Caustic  soda  20  parts 

No.  2. 

Water  100  parts 

Bichromate  of  potassium  2 parts 

Nitric  acid  i part 


Expose  a dry  plate  under  the  negative  and  develop  it 
until  it  can  distinctly  be  seen  from  the  back.  Stop  the  de- 
velopment by  plunging  it  into  a solution  of  a 3 per  cent  solu- 
tion of  boracic  acid,  and  wash.  After  that  immerse  in  open 
daylight  into  Solution  No.  2. 

After  the  black  image  has  been  transformed  into  a yellow- 
ish-red one,  wash  it  well,  and  place  it  into  a dish  containing 
5 per  cent  solution  of  caustic  soda.  The  picture  will  disap- 
pear, and  after  washing  it  is  redeveloped  in  Solution  No.  i. 
The  result  will  be  a negative  rich  in  detail,  which  is  to  be 
fixed  and  washed  as  usual. 


74 


The  Modern  Methods  of  Carbon  Printing. 


CHAPTER  111. 


THE  make-ready,  or  preparing  THE  NEGATIVE  EOR 
PRINTING. 

OUPPOSING  the  operator  has  exhausted  all  his  skill  and 

artistic  ability  in  producing  a high-grade  negative  as  far 
as  lighting,  pose,  and  composition  is  concerned;  but  has 
failed  in  his  chemical  or  developing  manipulations,  to  pro- 
duce a negative  that  has  the  right  qualities  required  for  car- 
bon printing. 

In  such  a case,  the  first  step  will  be  to  find  some  means 
by  which  to  improve  or  supply  the  deficient  qualities  not 
obtained  in  the  development. 

No  matter  how  excellent  or  perfect  a negative  may  seem 
to  be,  it  will  always  admit  of  some  improvements  being 
made  on  one  part  or  another,  by  suitable  methods. 

It  is  a well  known  fact  among  those  familiar  with  the 
carbon  process  that  a great  many  failures  to  obtain  satisfac- 
tory results  from  apparently  good  negatives,  are  due  to 
carelessness  in  the  make  ready,  or  preliminary  preparations 
made  by  the  printer  upon  the  negative  previous  to  exposing 
the  tissue  to  light. 

It  is  therefore,  well  to  bear  in  mind  that  all  the  time  and 
labor  skillfully  and  judiciously  applied  in  improving  the 
printing  qualities  of  a negative,  will  be  amply  rewarded  with 
beautiful  and  harmonious  effects. 

Elegant  draperies,  fine  laces,  and  also  the  backgrounds 
can  be  wonderfully  improved  by  the  master  hand  of  a skill- 
ful printer. 


The  Modern  Methods  op  Carbon  Printing. 


75 


Landscape  negatives  may  be  redeemed  from  flatness  or 
too  much  contrast  in  like  manner. 

Every  good  printer  has  a few  dodges  or  tricks  of  his 
own  invention  by  which  to  improve  his  negatives,  and,  for 
him,  will  probably  be  the  best  to  employ.  I will,  therefore, 
only  mention  a few  of  the  most  practical  methods  in  use. 

The  best  and  most  approved  method  for  all  purposes  is 
a coat  of  matt  varnish  on  the  glass  side  of  the  negative  : 

Sandarac  lOO  grains 

Mastic 25  grains 

Ether  3 oz. 

Benzole  oz. 

If  considerable  contrast  is  desired,  an  addition  of  a few 
grains  of  iodine  will  give  a tint  that  will  answer  this  purpose 
admirably.  For  too  much  contrast,  scrape  off  the  high 
lights;  also  where  there  is  white  drapery.  For  flatness, 
cover  the  high  lights  and  scrape  off  the  shadows.  If  scrap- 
ing is  found  too  troublesome,  a transparent  varnish  such  as 
mastic  may  be  applied  with  a camel’s  hair  pencil,  which  will 
answer  just  as  well. 

Very  effective  work  in  the  way  of  retouching  may  be 
done  on  the  matt  varnish  with  graphite  and  stump ; and 
any  amount  of  detail  may  be  worked  over  and  improved  by 
this  method. 

Another  and  similar  method  to  the  above  is  practiced  ex- 
tensively in  Germany. 

Make  and  apply  the  following  solution  to  the  glass  side 
of  the  negative  as  you  do  varpish  : 


Water  3 ounces 

Gelatine  3 drams 

Sugar  I dram 

Alcohol  5 drams 

Aurine  ,. . . 24  grains 


When  sufficiently  dry,  scrape  off  whatever  parts  found 


76 


The  Modern  Methods  op  Carbon  Printing. 


necessary,  and  apply  a clean  matt  varnish.  If  found  neces- 
sary again  scrape  off  varnish,  and  print  under  tissue. 

These  methods,  if  practically  applied,  will  make  wonder- 
ful improvements  in  the  printing  qualities  of  defective  nega- 
tives. 

Carbon  printers  of  the  old  school,  and  especially  the 
English  and  French,  employ  a very  fine  tissue  paper  called 
mineral  paper,  with  which  they  cover  the  glass  side  of  the 
negative;  and  when  there  is  considerable  work  to  do  they 
cover  the  face  with  a very  fine  grade  of  the  same  material. 

This  paper,  when  cemented  around  the  edges,  lies 
smoothly  and  firmly  to  the  surface  of  the  negative,  and  ad- 
mits of  very  fine  work  being  done  with  stump  and  pencil. 

For  soft  and  mellow  effects  from  a harsh  contrasty  nega- 
tive, I know  of  no  better  method  than  the  employment  of  a 
light  positive  from  such  a negative.  It  must  be  placed  ex- 
actly over  the  negative  and  printed  in  subdued  light.  Prob- 
ably an  easier  and  cheaper  way  is  to  make  a print  on  some 
old  aristo  platino  paper  and  fix  without  toning.  Then 
mount  it  face  down  on  a clear  glass  with 

Gelatine i ounce 

Water  ; 5 ounces 

Soak  the  gelatine  in  the  water  and  dissolve  by  gentle 
heat ; then  add  slowly,  about  ten  grains  of  chrome  alum  pre- 
viously dissolved  in  a little  hot  water.  When  dry,  apply  hot 
water  with  a sponge  to  the  back  of  the  print ; that  will  loosen 
the  paper  and  allow  it  to  be  stripped  off  of  the  film,  leaving  a 
nice,  clean  positive. 

If  found  too  troublesome  to  mount  the  print  on  glass 
and  to  remove  the  paper,  a print  made  clear  with  and 
mounted  onto  the  face  of  the  negative,  will  answer  nearly 
as  well , but,  of  course,  prints  much  slower.  This  is  a splen- 
did method  to  improve  large  negatives. 


The  Modern  Methods  of  Carbon  Printing. 


77 


For  local  application,  and  to  obtain  slight  increase  of 
contrast,  Prussian  blue  (water  color)  will  be  found  excel- 
lent. For  considerable  contrast,  raw  sienna,  yellow  lake,  or 
chrome  yellow  are  best. 

To  block  out  parts  of  a negative  apply  Venetian  red  or 
Chrome  yellow  to  the  glass  side  of  the  negative. 

The:  safe:  fdgf. 

The  purpose  of  the  safe  edge  is  mainly  to  have  an  easily 
soluable  edge  around  the  carbon  picture,  that  will  prevent 
puckering  or  washing  up  of  the  film  and  will  give  nice,  clean 
cut  margins,  and  will  be  a safeguard  against  injury  to  the 
pictures  when  removing  the  paper  from  the  back  of  the  film, 
at  the  beginning  of  the  development. 

A strip  of  red,  yellow,  or  green  paper  at  least  one-eighth 
of  an  inch  in  width ; or  a mask  of  any  shape  or  size  the  neg- 
ative will  admit,  without  interfering  with  the  parts  to  be 
printed  from,  is  placed  on  the  negative. 

For  clean  cut  margins,  such  as  are  required  for  pictures 
developed  on  celluloid,  porcelain,  or  etching  paper,  it  is  best 
to  put  the  mask  on  the  film  side  of  the  negative ; otherwise  it 
had  better  be  on  the  glass  side.  That  will  give  a softly 
blended  edge  and  the  film  will  not  frill,  no  matter  how  heavy 
the  deposit.  On  large  negatives,  an  edge  of  black  varnish, 
instead  of  a paper  mask,  is  the  easiest  to  apply.  Some  opera- 
tors use  a semi-opaque  paper,  which  gives  a partly  printed 
edge  and  causes  better  adhesion  of  the  tissue  to  the  support 
around  the  margin. 


78 


The  Modern  Methods  of  Carbon  Printing. 


CHAPTER  IV. 


THE  photometer. 

' I ^HE  exposure  to  light  does  not 
'*•  leave  any  visible  imprint  upon 
carbon  tissue.  Therefore  it  is  neces- 
sary to  devise  some  means  by  which  to 
ascertain  the  proper  length  of  time  ne- 
cessary to  obtain  prints  of  certain 
strength,  and  to  make  any  required 
number  of  pictures  having  the  same  actinometer. 
density. 

There  are  several  very  simple  methods  in  use,  that  will 
answer  for  a small  amount  of  printing.  The  most  simple  is 
to  select  another  negative  of  about  the  same  density  as  the 
one  to  be  printed  from,  and  expose  both  for  the  same  length 
of  time,  side  by  side,  using  aristo  paper.  Allow  the  paper, 
on  the  negative  from  which  it  is  intended  to  make  the  car- 
bon pictures,  to  become  about  what  would  be  called  a light 
proof.  The  print  taken  from  the  negative  used  as  an  ex- 
posure meter  is  placed  in  a subdued  light  and  is  used  to 
compare  the  following  prints  by. 

The  manner  of  proceeding  now  is  very  simple.  Every 
time  a fresh  piece  of  tissue  is  placed  upon  the  negative  an- 
other strip  of  aristo  paper  is  placed  upon  the  other  and  both 
exposed  simultaneously,  side  by  side.  Whenever  the  aristo 
print  reaches  the  same  shade  of  the  proof  first  printed  take 
in  the  carbon  negative  and  refill  it  with  new  tissue,  and  the 
other  frame  with  fresh  aristo.  In  this  manner  any  number 


The  Modern  Methods  op  Carbon  Printing. 


79 


of  impressions  may  be  made  and  all  be  perfectly  uniform  in 
density.  There  are  a number  of  good  and  reliable  photome- 
ters in  use,  of  which  Johnson’s  is  about  the  best  for  ordinary 
studio  work. 

A small  tin  box  with  hinged  cover,  having  a glass  fas- 
tened into  it,  is  so  arranged  that  when  a strip  of  aristo  paper 
is  placed  underneath  the  glass  it  can  be  drawn  out  at  the 
side  as  soon  as  the  paper  under  the  clear  glass  assumes  the 
shade  of  the  tint  painted  on  the  glass. 

This  operation  registers  one  tint  and  is  repeated  as  many 
times  as  it  is  required  by  the  negative  printing  the  carbon 
tissue,  to  give  a certain  density. 

When  reading  the  instructions  how  to  construct  and  use 
an  actinometer,  it  almost  seems  as  though  it  would  be  diffi- 
cult and  troublesome  to  put  such  an  instrument  to  practical 
use;  but  that  is  not  the  case.  Upon  slight  acquaintance  it 
will  be  found  very  simple  and  more  convenient  than  print- 
ing platinum  or  aristo  paper.  All  there  is  to  do,  is  to  watch 
the  photometer,  and  when  the  paper  discolors  to  match  the 
number  of  tints  marked  on  the  frames,  turn  them  down  or 
lay  them  in  until  all  are  finished,  which  will  only  take  a few 
minutes;  then  refill  the  frames  and  repeat. 

marton’s  photome;ter. 

A very  simple  and  easily  constructed  photometer  may  be 
made  as  follows : Upon  a small,  dry  plate  make  a series  of 
five  or  six  tiny  negatives  lengthwise  across  the  plate.  Num- 
ber every  negative  by  marking  the  figures  upon  each  one 
with  opaque.  Then  take  off  a print,  which  when  toned,  will 
be  of  a rather  light  shade — tone  it  on  the  red  order,  so  the 
color  compares  well  with  a newly  printed  picture.  These 
are  nicely  trimmed  and  the  strip  pasted  on  the  inside  of  the 


MARTON’S  ACTINOMETER. 

back  of  the  printing-  frame  and  used  as  a standard  tint.  The 
plate  is  then  covered  on  the  glass  side  with  one  layer  of  tis- 
sue paper,  stretched  smoothly  over  the  whole  by  cementing  it 
at  the  edges.  Another  strip  is  then  pasted  over  all  except 
No.  I and  then  another  strip  over  all  excepting  Nos.  i and  2, 
and  so  on,  leaving  one  of  the  series  out  at  each  application  of 
a layer  of  tissue. 

This  photometer  is  placed  into  an  ordinary  printing  frame 
and  can  be  used  to  print  a whole  series  of  negatives  as  easily 
as  one.  A strip  of  aristo  paper  is  used  for  printing;  a roll 
is  not  required.  The  printed  strip  of  paper  is  replaced  by  a 
new  one  at  each  change  of  tissue. 

To  find  the  photometer  test-number  of  a negative,  expose 
a piece  of  aristo  paper  under  the  negative  simultaneously 
with  a strip  of  the  same  on  the  photometer.  Print  to  a shade 
about  a third  or  a fourth  the  density  of  a finished  picture 
taken  from  the  same  negative,  according  to  the  rapidity  of 
the  tissue  to  be  used,  and  the  time  that  will  probably  elapse 
before  development;  then  compare  the  printed  strip  on  the 
photometer  with  the  test  pictures,  or  standard  tint.  The  num- 
ber of  the  print  that  comes  nearest  the  shade  or  density  of 
the  test  picture,  is  the  photometer  number  of  the  negative, 
and  should  be  marked  upon  the  frame. 


The  Modern  Methods  op  Carbon  Printing. 


81 


When  printing  a number  of  negatives  of  different  densi- 
ties, all  that  is  required  of  the  printer  is  to  watch  the  photo- 
meter. As  soon  as  a little  picture  upon  the  strip  of  aristo 
paper  bearing  the  number  of  a negative  appears  to  have  the 
same  shade  or  density  as  the  test  picture  above  it,  take  in  or 
turn  down  all  the  frames  bearing  that  number,  and  so  on, 
until  the  board  is  cleared. 

Always  handle  the  photometer  as  quickly  as  possible 
when  there  are  other  negatives  depending  upon  its  test. 


82 


The  Modern  Meth6ds  of  Carbon  Printing. 


CMAPTER  V. 


PRINTING  OPERATIONS FINDING  THE  SPEED  OF  A NEGATIVE. 

T T SUALLY,  the  time  required  to  print  a light  proof  upon 
aristo  paper,  or  the  time  it  takes  to  print  a picture  about 
one-fourth  the  density  required  for  aristo  prints,  will  be 
about  the  right  time  of  exposure  for  carbon  pictures  printed 
from  the  same  negative  under  like  conditions. 

Supposing  the  development  to  take  place  within  a rea- 
sonable length  of  time.  The  modus  operandi,  then,  how  to 
find  the  proper  speed  of  a negative,  is  to  make  a light  print 
as  stated  above  and  at  the  same  time  expose  a strip  of  the 
same  paper  in  the  photometer  for  exactly  the  same  length  of 
time.  Mark  the  number  of  the  tints  and  match  all  the  fol- 
lowing prints  to  this  one. 

Owing  to  the  various  stages  of  sensitiveness  the  tissue 
undergoes,  the  most  reliable  and  safest  plan,  especially  for 
beginners,  is  to  expose  a small  piece  of  tissue  by  the  photo- 
meter test,  and  another  just  a little  longer.  Then  immerse 
the  two  pieces  in  cold  water  for  a minute  and  bring  in  con- 
tact with  single  transfer  paper  and  develop.  This  will  re- 
quire but  a few  minutes  and  will  tell  exactly  how  to  expose 
the  tissue  properly,  and  will  save  considerable  time  and  trou- 
ble as  well  as  loss  of  material. 

EXPOSING  THE  NEGATIVE  TO  EIGHT. 

When  the  negative  has  been  properly  made-ready  after 
the  foregoing  directions  and  the  safe  edge  applied,  one  of 
the  most  important  operations  of  the  whole  process  is  next 


The  Modern  Methods  of  Carbon  Printing. 


83 


in  order — exposing  the  sensitive  tissue  to  light  under  the 
negative. 

Before  beginning  the  printing  operations  the  pressure 
frames  must  be  looked  over  and  supplied  with  good,  dry 
pads,  made  of  felt  and  thin  cardboard,  and,  as  a prefect 
protection  against  moisture,  a layer  of  rubber  cloth  may  be 
added. 

This  will  insure  a good,  even  contact  all  over  the  negative 
and  should  never  be  neglected  if  perfectly  sharp  pictures  are 
desired. 

The  springs  ought  to  be  good  and  stout  to  give  the  pres- 
sure necessary  to  insure  perfect  contact. 

The  frames  must  be  perfectly  dry  and  free  from  dust; 
also  brush  off  the  negative  well  before  placing  it  into  the 
frame. 

When  all  is  ready  take  a piece  of  carbon  tissue  from  the 
pressure  box  and  remove  the  dust  from  the  face  and  place  it 
carefully  upon  the  negative.  Use  a subdued  or  yellow  light 
for  this  operation,  and  bear  in  mind  that  the  tissue  must 
overlap  the  safe  edge  at  least  one-eighth  of  an  inch ; if  this 
is  neglected  there  is  apt  to  be  trouble  when  it  comes  to  the 
developing  operations. 

A good  way  to  equalize  the  speed  of  a number  of  nega- 
tives of  different  densities,  is  to  cover  the  weak  ones  with  so 
many  layers  of  tissue  paper  as  will  retard  their  speed  to  about 
the  same  degree  of  the  denser  ones.  When  this  is  done,  the 
difficulty  of  printing  negatives  of  different  densities  is  greatly 
reduced. 

A printer  of  limited  experience  will  find  it  the  safest  and 
best  plan  to  do  his  printing  in  the  shade,  especially  in  hot 
weather,  unless  the  negatives  are  very  dense,  and  require  a 
very  strong  light. 

Never  print  with  the  frames  exposed  to  the  direct  rays 


84 


The  Modern  Methods  of  Carbon  Printing. 


of  the  sun  in  summer,  unless  the  time  of  exposure  is  very 
short  and  the  quality  of  the  negative  such  as  to  require  that 
manner  of  treatment.  The  best  prints  are  made  in  sun- 
light at  a medium  temperature.  Arrange  a printing  board 
that  can  be  covered  with  either  ground  glass  or  with  one  or 
more  layers  of  tissue  paper. 

Leave  the  sides  open  to  allow  the  air  to  pass  freely,  in 
summer.  Should  the  board  get  hot  in  spite  of  this  precau- 
tion, introduce  a screw  eye  under  each  corner  of  the  frame ; 
that  will  allow  the  air  to  pass  through  under  the  frame  and 
keep  it  cool. 

After  the  frames  have  all  been  filled,  place  them  under 
the  glass,  and  the  photometer  in  between  them.  \Vhen  the 
proper  tint  has  been  reached,  cover  each  negative  with  an 
opaque  cardboard,  or  lay  it  face  down  upon  a convenient 
table,  until  all  the  rest  have  finished  printing;  when  the 
light  is  again  subdued  and  the  operation  of  refilling  the 
frames  gone  through  with ; or,  if  more  convenient,  change 
each  negative  as  soon  as  prints  are  finished.  The  actinome- 
ter  or  negative  used  as  an  exposure  meter  is  also  supplied 
with  fresh  aristo  paper.  Place  them  out  under  the  glass  si- 
multaneously and  repeat  the  operation  until  the  required 
number  of  prints  have  been  made.  In  cold,  cloudy  weather, 
prolong  the  exposure  a little,  the  same  as  you  would  for  a 
silver  print ; and  on  a bright,  warm  day,  cut  it  a little 
shorter.  The  action  is  more  vigorous  in  warm  weather  than 
when  it  is  cool.  For  the  expert  printer,  there  is  a vast 
amount  of  latitude  in  carbon  printing;  both  over  and  under 
exposure,  if  properly  managed,  may  result  in  good  prints 
nearly  always.  At  this  juncture  it  is  well  to  bear  in  mind 
that  when  carbon  tissue  has  once  been  exposed  to  light,  the 
action  is  continuous,  especially  so  in  a warm,  damp  atmos- 
phere, and  that  due  allowance  must  be  made  therefore,  espe- 


The  Modern  Methods  op  Carbon  Printing. 


85 


cially  when  a number  of  prints  are  taken  from  the  same 
negative  before  development.  Should  the  development  be 
delayed  for  a considerable  length  of  time  this  peculiar  prop- 
erty will  manifest  itself  in  a marked  degree,  most  usually  re- 
sulting in  over  exposure.  A splendid  way  of  keeping  exposed 
tissue  before  development,  is  to  store  it  in  perfectly  dry  tin 
receptacles,  containing  dry  calcium  chloride. 

Another  and  probably  the  best  method  is  to  use  an  anti- 
chrome check  bath,  which  will  be  fully  described  further  on. 


universal  printing  frame. 


Since  there  is  no  visible  imprint  by  which  to  distinguish 
the  difference,  it  sometimes  happens  that  the  tissue  that  has 
been  exposed  gets  mixed  with  the  unexposed.  To  avoid  this 
trouble  mark  “Ex”  on  the  back  of  each  piece  of  tissue,  as 
well  as  the  number  and  top  of  the  negative  as  it  is  taken  from 
the  frame  after  exposure.  In  case  this  precaution  is  forgot- 
ten breathe  on  the  film  of  the  tissue,  and  if  it  had  been  ex- 
posed the  image  will  appear  faintly,  but  will  immediately  dis- 
appear. Avoid  touching  the  surface  of  the  tissue  with  bare 
fingers  as  much  as  possible,  especially  when  damp. 

Unless  there  are  one  or  more  assistants  it  is  best  to  de- 
velop the  print  every  hour  or  two;  for,  if  the  printer  is  not 
an  expert  in  calculating  the  speed  of  the  continuing  action 
of  light  upon  the  tissue  for  a given  length  of  time,  the  first 


86 


The  Modern  Methods  op  Carbon  Printing. 


impression  made  will  be  much  darker  than  those  made  at  the 
end  of  the  day.  The  best  results  are  obtained  by  giving  full 
time  and  developing  immediately  after  exposure,  which  is 
the  proper  way  to  do  where  there  are  one  or  more  assistants, 
equipped  with  the  necessary  apparatus,  etc. 

The;  carbon  viGNE;TT:e. 

These  beautiful  pictures  are  the  most  difficult  of  all  to 
make. 

The  delicacy  and  beauty  of  carbon  vignettes  necessitates 
a very  fine  gradation  in  printing,  and  it  seems  as  though 
most  carbon  workers  neglect  to  familiarize  themselves  with 
this  fact;  consequently  the  majority  of  them  make  a failure 
of  this  class  of  work,  simply  because  they  are  not  familiar 
with  the  chemical  action  of  light  upon  bichromated  gelatine 
under  certain  conditions. 

Tissue  sensitized  in  a bath  containing  8 per  cent  of  bi- 
chromate and  4 per  cent  of  liq.  ammonia,  to  which  add  2 per 
cent  of  accelorine — has  splendid  keeping  qualities  and  has  a 
tendency  towards  softer  gradations. 

When  the  tissue  is  new,  it  works  with  vigor  and  contrast; 
and  when  about  two  or  three  days  old  it  prints  softer  and  is 
therefore  better  suited  for  vignettes.  For  double  transfer 
vignettes,  prepare  the  surface  of  the  temporary  support  with 
talc,  and  give  it  a substratum  of  bichromated  albumen.  This 
is  prepared  by  adding  some  of  the  alkalin  bath  solution  to  a 
lo  or  15  per  cent  solution  of  albumen.  When  two  or  three 
days  old  filter,  and  it  will  flow  as  even  and  smoothly  as  col- 
lodion. When  dry  expose  the  plates  to  light  to  harden  the 
surface,  and  they  are  ready  for  use.  Before  transferring 
the  tissue  allow  them  to  soak  for  a few  minutes  in  clean 
water. 


The  Modern  Methods  of  Carbon  Printing. 


87 


CHAPTER  VI. 


the;  continuous  action  ot  tight. 

PROBABLY  one  of  the  most  perplexing  difficulties  the 
carbon  printer  has  to  contend  with  is  the  curious  phe- 
nomena of  the  continuous  action  or  insolubilization  that  goes 
on  after  the  tissue  has  been  exposed  to  light.  This  peculiar 
property  of  bichromated  gelatine  sometimes  tries  the  pa- 
tience of  the  carbon  printer  to  its  fullest  extent,  in  one  way, 
and  in  another,  proves  itself  a great  advantage  in  saving 
prints,  which,  without  this  continuous  printing  property, 
would  be  a failure  and  a total  loss. 

This  difficulty,  if  so  it  may  be  called,  besets  the  carbon 
printer  most  seriously  in  warm  weather;  but  if  the  proper 
provisions  are  made,  it  can  very  easily  be  avoided. 

Thus,  unless  the  proper  precautions  have  been  taken,  the 
tissue  that  has  been  exposed  in  the  morning,  if  left  for  de- 
velopment until  evening,  will  be  found  considerably  too  dark 
if  not  totally  insoluble. 

The  hardening  action  set  up  by  the  exposure  to  light 
progresses  more  rapidly  in  the  presence  of  heat  and  mois- 
ture, than  in  a cool,  dry  atmosphere. 

This  action  may  be  easily  observed  in  warm  Aveather  by 
leaving  a piece  of  exposed  carbon  tissue  to  the  influence  of  a 
warm,  damp  atmosphere  for  a given  length  of  time,  and  an- 
other for  the  same  time,  in  a dry,  cool  place  and  developed 
simultaneously.  This  experiment  ivill  plainly  show  that  the 
increase  in  density  went  on  quite  rapidly,  and  would  haA^e  re- 
sulted in  total  insolubility  of  the  former,  had  the  action  not 
been  arrested  in  time  by  development. 


88 


The  Modern  Methods  op  Carbon  Printing. 


On  the  other  hand,  it  will  be  found  that  the  piece  of  tis- 
sue which  had  been  stored  in  a cool,  dry  place,  for  the  same 
length  of  time,  was  very  little  affected  and  the  increase  in 
density  of  the  latent  image  was  hardly  perceptible. 

It  is  therefore  advisable  to  keep  the  tissue  as  cool  and 
dry  as  possible  after  exposure  to  the  hardening  action  of 
light.  Or,  if  the  developing  rooms  are  so  arranged  as  to  al- 
low the  development  to  be  carried  on  conveniently,  it  will  be 
found  by  far  the  best  plan  to  develop  immediately  or  at 
least  every  hour,  especially  in  warm  weather. 

It  will  thus  be  seen  that  strict  attention  must  be  given  to 
the  temperature  and  humidity  of  the  atmosphere,  and  due 
allowance  be  made  therefor  in  measuring  the  time  of  ex- 
posure, according  to  the  length  of  time  expected  to  elapse 
before  the  development  takes  place. 

The  above  applies  to  ordinary  studio  work  only.  Where 
carbon  printing  is  carried  on  extensively,  the  printer  usually 
has  one  or  more  assistants,  and  development  is  carried  on 
simultaneously  with  the  printing,  and  the  difficulties  caused 
by  the  continuous  action  of  light  are  avoided. 

While  this  peculiar  property  of  bichromated  gelatine 
will  often  prove  itself  an  annoyance  and  sometimes  bring 
disappointment,  it  will  also  prove  itself  a blessing  and  a great 
advantage  after  the  conditions  pertaining  to  its  application 
are  properly  understood. 

This  will  be  found  especially  true  when  the  solar  printer 
takes  advantage  of  this  property,  in  making  enlargements,  or 
printing  by  artificial  light. 

A fourth  of  an  exposure  made  in  the  morning  of  a warm 
day,  will,  providing  the  tissue  has  been  left  to  the  influence 
of  the  atmosphere,  through  the  agency  of  this  continuous 
action  of  light,  have  gained  sufficiently  in  strength,  to  de- 
velop as  a fully  exposed  print  in  the  evening ; and  if  the  at- 


The  Modern  Methods  of  Carbon  Printing. 


89 


mosphere  is  loaded  with  moisture,  a few  hours  will  suffice 
to  gain  the  same  result. 

It  will  thus  be  seen  that  the  hardening  action  which  be- 
gan with  the  exposure  of  the  tissue  to  light,  continued  until 
it  had  increased  the  density  of  the  latent  image  to  a degree, 
that,  if  it  had  not  been  arrested  in  time,  the  resulting  picture 
would  have  been  too  dark,  if  not  entirely  insoluble. 

The  greatest  care  should  be  exercised  in  drying  sensi- 
tive carbon  tissue,  not  to  expose  it  to  white  light;  for  just 
as  soon  as  it  is  dry,  no  matter  how  slight  it  may  seem  to 
have  been,  this  continuous  action  will  assert  itself  in  time 
and  cause  insolubility  or  lack  of  adhesion  to  the  support,  a 
trouble  so  often  attributed  to  other  causes. 

This  peculiar  action  of  light  on  bichromated  gelatine  can 
easily  be  arrested  if  desired,  and  the  exposed  tissue  developed 
at  any  time  afterwards  to  suit  the  convenience  of  the  opera- 
tor; in  fact  it  is  immaterial  when  it  is  developed;  if  prop- 
erly stored  it  will  keep  indefinitely  and  will  work  just  as  well 
in  ten  years  as  if  it  had  been  developed  the  same  day. 

The  mode  of  procedure  is  very  simple : Rinse  the  exposed 
tissue  in  clean,  cold  water  until  the  soluble  bichromate 
is  pretty  well  washed  out,  then  immerse  it  for  twenty  min- 
utes in  a five  per  cent  solution  of  antichrome  and  again  rinse 
in  several  changes  of  clean,  cold  water  and  hang  up  to  dry. 

The  exposed  tissue,  made  insensitive  to  light  after  the 
forgoing  directions,  is  transferred  and  developed  in  exactly 
the  same  manner  as  when  in  a sensitive  state,  with  the  excep- 
tion that  the  precautions  to  protect  it  against  light,  need  not 
here  be  regarded. 

THEORY  OF  THE  LATENT  IMAGE  AND  ITS  DEVELOPMENT. 

The  action  of  white  light  has  a hardening  effect  upon 
bichromated  gelatine,  according  to  strength  of  solution  used 


90 


The  Modern  Methods  of  Carbon  Printing. 


and  the  penetrating  power  of  the  actinic  rays  to 
which  it  is  exposed.  Thus,  if  a piece  of  sensitive  carbon 
tissue  be  exposed  to  light  under  a negative,  the  entire  surface 
of  the  film  will  be  rendered  insoluble,  excepting  where  the 
negative  was  so  dense  as  to  entirely  obstruct  the  passage  of 
light.  Upon  this  insoluble  film  of  pigmented  gelatine  is 
formed  the  latent  image,  to  a degree,  varying  in  strength 
and  density,  according  to  depth  of  penetration  and  actinism 
or  probably  better  said,  power  of  insolubilization,  of  the 
light  to  which  it  was  exposed,  through  the  varying  densities 
and  gradations  of  the  negative ; thus  forming  a picture  of 
insoluble  pigmented  gelatine  with  all  the  delicate  detail, 
strength  and  vigor  capable  of  being  produced  by  the  negative 
employed. 

The  strength  and  brilliancy  of  the  resulting  picture  also 
greatly  depends  upon  the  state  of  solubility  the  tissue  is  in 
and  the  amount  of  coloring  matter  contained  in  the  film,  as 
well  as  the  depth  of  penetration  by  the  actinic  rays  of  light. 

The  surface  of  the  pigmented  gelatine  adhering  to  the 
paper  upon  which  it  is  coated,  remains  entirely  soluble,  and 
by  bringing  the  surface  of  the  film  into  intimate  contact  with 
a suitable  support  that  will  keep  it  intact,  the  paper  may  read- 
ily be  separated  from  the  film,  by  immersing  the  tissue  in  hot 
water,  thus  exposing  the  soluble  surface  of  the  gelatine  to  the 
action  of  the  water,  which  dissolves  the  unaffected  parts,  and 
with  it,  washes  away  all  the  pigment  contained  therein,  and 
in  that  manner,  reveals  the  picture  in  strength  and  gradation 
according  to  the  quality  of  the  negative  employed. 


The  Modern  Methods  oe  Carbon  Printing. 


91 


Pert  111. 


CHAPTER  1. 


The;  single;  transfe:r  proce;ss — pre;liminary  re;marks. 

' I'^HE  development  of  carbon  pictures  by  single  transfer 
**•  is  very  simple  and  devoid  of  all  difficult  manipulations, 
and  it  is  well  to  be  thoroughly  familiar  with  and  understand 
this  method  first,  before  attempting  to  master  the  more  dif- 
ficult double  transfer  process. 

The  pictures  made  by  this  process  from  ordinary  nega- 
tives, are  reversed,  on  account  of  the  tissue  being  transferred 
and  developed  upon  another  support,  usually  paper,  cellu- 
loid, or  opal  glass. 

This  transfer  is  absolutely  necessary  on  account  of  the 
image  being  formed  on  the  surface  of  the  tissue  exposed  to 
the  action  of  light,  which  has  consequently  become  entirely 
insoluble.  Therefore,  in  order  to  effect  the  development  of 
the  latent  image,  it  is  necessary  to  transfer  the  tissue  to  an- 
other support  and  accomplish  the  development  from  the 
back,  where  the  light  has  not  penetrated  and  the  gelatine 
remained  soluble  or  unaltered. 

Carbon  pictures  are  developed  by  means  of  hot  water 
which  permeates  the  paper  or  original  support  and  makes 
soluble  the  unaffected  parts  of  the  gelatine,  which  then  al- 
lows the  paper  support  to  be  removed,  thus  exposing  the 
image  to  the  action  of  the  hot  water,  which  dissolves  and 
washes  away  all  the  soluble  parts,  and  with  it  the  pigment  or 
coloring  matter  it  contained,  and  thus  clears  the.  image  and 
affects  the  development. 


92 


The  Modern  Methods  of  Carbon  Printing. 


principle  op  the  singep  transfer  process. 

If  a pigment  paper,  which  has  been  previously  exposed 
to  the  action  of  light  under  a negative,  is  allowed  to  absorb 
cold  water  until  it  begins  to  flatten  out,  is  brought  into  inti- 
mate contact  with  a prepared  paper,  or  any  plain  surface 
impervious  to  air  or  water,  such  as  celluloid,  porcelain,  china, 
etc.,  it  will  firmly  adhere  thereto  during  the  process  of  de- 
velopment, providing  the  proper  conditions  pertaining  to 
the  sensitizing  and  drying  of  the  tissue  have  been  strictly  ad- 
hered to;  and  it  will  dry  down  with  a beautiful  smooth  sur- 
face, where  it  remains  in  permanent  contact  with  the  support. 

This  is  called  the  single  transfer  process  on  account  of 
necessitating  but  one  transfer  and  the  image  being  developed 
on  its  final  support. 

This  process  is  free  from  all  difficulties  and  has  within 
recent  years  been  employed  almost  exclusively  by  the  major- 
ity of  carbon  printers  of  this  country. 

In  former  years  it  was  seriously  handicapped  on  account 
of  the  pictures  being  reversed  when  printed  from  ordinary 
non-reversed  negatives,  for  v'^ant  of  safe  and  expedient 
methods  of  reversing  the  negative  film. 

This  serious  obstacle,  which  prevented  the  process  from 
coming  into  general  use  long  ago,  and  which  always  was  one 
of  the  chief  hindrances,  to  its  success  has  finally  been  over- 
come by  the  use  of  the  modern  stripping  plate  and  the  many 
excellent  methods  of  stripping  and  reversing  the  films  of 
ordinary  dry  plates. 

The  reversal  of  the  negative  film,  which  enables  the  car- 
bon printer  to  produce  correct  pictures  by  this  method, 
greatly  simplifies  the  carbon  process  and  is  a decided  step  in 
advance  of  the  older  methods  employed  in  by-gone  years. 

At  the  same  tiine  a great  deal  of  labor  and  expense  is 
saved,  say  nothing  about  the  failures,  vexation,  and  disap- 


The  Modern  Methods  op  Carbon  Printing. 


93 


pointment  the  double  transfer  method  if  not  very  carefully 
managed,  often  entails. 

The  manipulations  necessary  to  accomplish  the  reversal 
of  an  ordinary  negative  film,  are  far  less  difficult  and  much 
easier  to  perform  than  the  operations  of  the  double  transfer 
process. 


siNGLi:  Transfer  supports. 

The  single  transfer  paper  is  supplied  by  the  manufac- 
turer of  carbon  tissue  in  rolls  of  about  thirty  square  feet, 
and  in  three  different  grades — thin,  medium,  heavy  and 
rough. 

Ordinarily,  this  paper  is  coated  with  a substratum  of  in- 
soluble gelatine,  which  may  be  distinguished  from  the  un- 
coated side,  when  dry,  by  its  luster.  This  gloss  is  not  notice- 
able when  wet,  therefore  as  a precaution,  mark  the  back  of 
each  piece  of  paper  before  immersion. 

To  make  a good  single  transfer  paper  take 


Gelatine  (hard)  i ounce 

Water  i6  ounces 

Chrome  alum  30  grains 


Soak  the  gelatine  in  the  water  for  an  hour  and  then  dis- 
solve by  gentle  heat.  Dissolve  the  chrome  alum  in  two 
ounces  of  water  and  add  it,  a little  at  a time,  to  the  former 
solution,  stirring  it  well  at  each  addition.  Filter,  and  coat 
with  a camel’s  hair  brush  or  float  the  paper  on  the  surface 
and  hang  up  to  dry. 

Besides  the  ordinary  single  transfer  papers,  there  are 
several  grades  of  drawing  paper ; medium  and  heavy  rough 
matt  surface  or  crayon  paper ; and  the  white  and  toned  etch- 
ing papers,  which  are  used  for  artistic  effects.  These  are 
all  procurable  at  the  stock  dealers  but  can  be  easily  prepared 
in  the  studio,  however.  Take  one  ounce  of  hard  gelatine 


94 


The  Modern  Methods  of  Carbon  Printing. 


and  soak  it  in  20  ounces  of  cold  water  for  an  hour ; then  dis- 
solve it  in  the  usual  way,  and  add  while  constantly  stirring, 
40  grains  of  chrome  alum  dissolved  in  a little  hot  water. 
Coat  the  paper  with  a soft  sponge  or  camel’s  hair  brush,  and 
hang  it  up  to  dry. 

Let  this  support  soak  in  clean,  cold  water  for  at  least  ten 
minutes  before  making  the  transfer.  Should  the  paper  show 
signs  of  softening  or  become  pulpy  in  the  alum  bath,  remove 
it  and  let  dry;  then  again  immerse  it  until  all  the  yellow 
stain  disappears. 

The  celluloid  or  opal  glass  used  for  single  transfer  pic- 
tures, has  a delicate  matt  surface  and  works  well  without  a 
substratum  when  the  tissue  is  new ; but  to  be  perfectly  safe, 
it  is  best  to  give  it  a thin  substratum  of  insoluble  gelatine  : 


Gelatine  (hard)  30  grains 

Water  32  ounces 

Chrome  alum  50  grains 


Let  the  gelatine  become  well  water  soaked  and  dissolve 
it  in  the  usual  way;  then  dissolve  the  chrome  alum  in  a 
little  hot  water  and  add  it  to  the  gelatine;  thoroughly  mix 
and  filter  through  cotton. 

Flow  the  solution  over  the  surface,  or  coat  by  dipping  the 
celluloid  or  opal  glass  into  the  solution,  and  hang  it  up  or 
place  on  a rack  to  dry. 

Celluloid  or  opal  glass  may  also  be  albumenized  with  a 
ten  per  cent  solution  of  albumen ; add  a few  drops  of  forma- 
lin and  filter  before  use.  Carbon  pictures  on  celluloid  or 
porcelain  are  very  artistic  and  probably  the  most  beautiful 
pictures  produced  by  photographic  means.  The  exquisite 
delicacy  and  softness  of  these  pictures,  lends  them  a charm 
impossible  to  obtain  by  any  other  method. 

Carbon  porcelains,  and  especially  the  sepias  are  suscept- 


The  Modern  Methods  op  Carbon  Printing. 


95 


ible  to  a wide  range  of  artistic  treatment,  both  in  mono- 
chrome and  color. 

A good  quality  of  Baryta  paper  makes  a very  fine  sup- 
port for  single  transfer  pictures.  This  may  be  greatly  im- 
proved by  immersing  it  in  the  same  solution  applied  to  cel- 
luloid as  a substratum. 

Matt  surface  Baryta  paper  gives  a beautifully  soft  sur- 
face to  carbon  prints.  A good  quality  of  this  paper  is,  how- 
ver,  very  difficult  to  procure. 

Cut  the  required  number  of  supports  to  the  correct  sizes, 
always  a little  larger  than  the  tissue,  and  if  there  are  small 
pictures,  a number  of  them  may  be  mounted  upon  one  piece 
of  support  and  thus  save  considerable  time  in  the  develop- 
ment. 

The  platino  backing  papers  now  on  the  market,  if  coated 
with  an  insoluble  substratum,  also  make  a splendid  single 
transfer  paper. 

syste;matic  arrange:me:nt  or  trays^  tanks,  and  drved- 

OPING  APPARATUS. 

A tank  or  large  tray  containing  cold  water  at  a tempera- 
ture not  exceeding  6o°  F.,  is  placed  to  the  left.  This  tray 
must  be  large  enough  to  allow  the  operator  to  conveniently 
manipulate  a print  and  support  under  water.  Next  to  this, 
place  the  mounting  tray  with  the  squeegee  board — providing 
a transferring  machine  is  not  at  hand. 

Then  comes  the  hot  water  tray  or  developing  tank.  This 
must  be  filled  with  water  at  a temperature  of  about  ioo°  F. 
and  if  old  tissue  has  been  used  105°  or  110°  F.,  will  be 
necessary.  A small  gas  or  oil  stove  must  be  so  arranged 
underneath  the  tank  as  to  admit  the  temperature  being  raised 
or  lowered  at  will. 

For  a description  of  hot  water  apparatus  see  chapter  on 
“Hot  water  supply.” 


96 


The  Modern  Methods  op  Carbon  Printing. 


MOUNTING  TRAY  WITH  SQUEGEE  BOARD. 


To  the  right  of  the  developing  tank  place  another  tank 
or  tray  of  cold  water  not  above  60*^  F.  in  which  the  soft  gela- 
tine film  is  allowed  to  stiffen  and  is  then  thoroughly  rinsed 
before  placing  them  into  the  alum  bath. 

The  alum  tank  or  tray,  which  must  be  rubber,  porcelain 
or  earthenware,  is  placed  near. 

From  the  alum  bath  the  prints  are  again  transferred  to 
a cold  water  tray  in  which  they  are  freed  from  the  alum, 
which  then  completes  the  developing  operations. 

The  size  of  the  trays  is  immaterial,  as  long  as  they  are 
large  enough  to  suit  the  purpose  of  the  operator.  A few 
weights  of  convenient  size  must  always  be  kept  at  hand. 
These  are  easily  made  of  any  size  by  procuring  tin  boxes 
from  the  druggist  and  filling  them  with  molten  lead.  When 
the  lids  are  replaced,  they  make  veiy  neat  and  handy 
weights. 

The  above  directions  are  for  development  on  a small 
scale. 


The  Modern  Methods  op  Carbon  Printing. 


97 


CHAPTER  II. 


THE  TRANSEER  or  mounting  THE  EXPOSED  TISSUE  UPON 
The  support  eor  deveeopment. 


SQUEGEE  operation. 


* I ^HE  water  used  for  this  purpose  ought  to  contain  as  lit- 
'*■  tie  foreign  matter  as  possible  and  should  be  filtered 
through  muslin.  The  temperature  must  not  be  higher 
than  68°  F.  or  lower  than  58°  F.  in  winter,  and  must 
be  kept  between  50°  and  60°  F.  or  lower  in  summer.  Melted 
ice  water  is  the  proper  thing  in  very  hot  weather. 

A few  drops  of  a saturated  solution  of  carbonate  of  am- 
monia added  to  the  water  will  cause  a better  adhesion.  This 
should  be  done  with  great  care,  however,  a little  too  much 
might  cause  trouble.  New  tissue  does  not  require  this  addi- 
tion ; it  should  be  used  only  for  tissue  which  has  partly  lost 
its  adhesive  properties. 


98 


The  Modern  Methods  of  Carbon  Printing. 


The  transfer  must  be  made  in  a subdued  or  yellow  light 
on  account  of  the  tissue  being  very  sensitive  to  white  light. 

After  it  has  once  become  well  water-soaked  only  a 
very  little  of  the  former  sensitiveness  remains  and  if  all 
the  bichromate  is  washed  out  or  it  has  been  immersed  in  a 
bath  of  antichrome,  it  will  when  dry,  be  entirely  insensitive 
to  light. 

When  all  the  preliminary  arrangements  have  been  made, 
immerse  the  single  transfer  paper,  celluloid,  or  of  whatever 
nature  the  support  may  be,  face  up  into  the  cold  water  tray 
on  the  left  and  allow  sufficient  time  to  elapse  for  the  water 
to  expel  every  particle  of  air  in  the  paper.  The  heavy  rough 
papers,  especially,  should  be  soaked  for  at  least  a half  hour. 
If  this  is  not  done  it  may  give  rise  to  blisters  and  numerous 
little  air-bells  and  cause  considerable  trouble  later  on. 

To  be  thorough  in  this  matter,  pass  a camel’s  hair  brush 
or  silken  sponge  over  the  prepared  surface  of  the  paper  be- 
fore bringing  it  in  contact  with  the  tissue,  to  remove  all 
froth  or  air-bells  adhering  to  its  surface. 

Now  put  on  rubber  gloves  to  protect  the  hands  and  pull 
down  the  yellow  curtains,  or  subdue  the  light.  ( A yellow 
light  is  best. ) Then  take  a piece  of  exposed  tissue  and,  after 
removing  the  dust  from  both  sides  with  a camel’s  hair  brush, 
immerse  it  face  down  into  the  same  cold  water  tray  with  the 
support. 

The  water  must  be  at  least  two  inches  deep,  so  that  the 
tissue  may  be  turned  over  without  exposing  it  to  the  air  in 
that  state. 

This  is  very  important,  especially  during  warm  weather. 
If  the  tissue  does  not  remain  completely  submerged,  at  least 
until  it  begins  to  flatten  out,  there  will  be  danger  of  reticu- 
lation. It  should  also  be  borne  in  mind,  that  when  carbon 
tissue  is  immersed  in  cold  water,  it  will  absorb  water  until 


The  Modern  Methods  of  Carbon  Printing. 


99 


the  film  is  fully  expanded,  and  loses  its  adhesive  properties. 
Therefore,  to  cause  a good  adhesion  to  the  support,  it  must 
be  brought  in  contact  before  it  is  fully  saturated,  or  when  it 
lies  flat  and  is  about  to  turn  backwards. 

All  the  manipulations  necessary  to  affect  the  transfer 
must  be  done  quickly  and  without  delay,  for  the  time  is 
limited. 

Carefully  remove  all  the  air-bells  that  gather  on  the  face 
and  back — while  the  gelatine  is  swelling — with  a camel’s 
hair  brush.  If  these  are  not  removed  they  are  apt  to  cause 
spots. 

If  the  tissue  is  allowed  to  remain  in  the  water  consider- 
ably longer  than  is  necessary  to  flatten  it  out,  it  will  absorb 
too  much  water,  and  will  adhere  to  the  support  with  diffi- 
culty or  probably  will  refuse  to  do  so  at  all. 

At  the  same  time  it  is  well  to  guard  against  being  too 
hasty.  If  the  tissue  is  removed  from  the  water  and  squee- 
geed to  a support  too  soon,  it  will  keep  on  swelling,  and  the 
\vater  drawn  out  of  the  pores  of  the  paper  by  the  gelatine 
film,  is  replaced  with  air,  which  in  consequence  gives  rise  to 
a froth  or  the  tiny  little  air-bell’s  when  the  tissue  is  developed 
in  warm  water.  This  trouble  arises  more  frequently  on  a 
support  like  celluloid  or  opal  glass,  therefore  the  tissue  that 
is  to  be  transferred  to  these  supports,  should  be  allowed  to 
absorb  water  enough  to  be  tolerably  well  saturated,  and 
then  let  remain  under  pressure  a little  longer  than  a flexible 
support. 

As  previously  stated,  a few  drops  of  liquid  ammonia  or 
a little  boracic  acid  added  to  the  water  will  cause  the  tissue 
to  adhere  better  to  the  support,  especially  if  the  tissue  is  not 
in  good  soluble  condition.  But  it  must  be  done  with  care — 
too  much  would  cause  trouble,  especially  the  ammonia.  Some 
operators  use  carbonate  of  soda  in  preference  to  ammonia. 


100  The  Modern  Methods  op  Carbon  Printing. 

Tissue  dried  upon  a collodion  film  requires  the  addition 
of  a little  hydrochloric  acid  instead  of  boric  acid  or  am- 
monia. 

As  soon  as  the  tissue  touches  the  water  it  will  begin  to 
curl  inward  which  is  caused  by  the  paper  swelling  or  ex- 
panding more  rapidly  than  the  gelatine  film.  The  curling 
up  is  best  prevented  by  keeping  the  tissue  down  to  the  bottom 
of  the  tray. 

The  gelatine  film  absorbs  the  cold  water  and  expands 
gradually  until  it  flattens  out,  when  it  immediately  begins 
to  curl  the  other  way ; this  is  caused  by  the  gelatine  having 
a greater  expansion  than  the  paper.  The  moment  it  lies  flat 
is  the  proper  time  to  bring  it  in  contact  with  the  prepared 
surface  of  the  support,  and  must  then  be  immediately  re- 
moved to  the  squeegee  board  or  marble  slab,  and  brought 
into  intimate  contact.  Should  it  happen  that  the  film  be- 
comes fully  saturated  before  it  can  be  brought  in  contact 
with  the  support,  transfer  and  take  as  much  moisture  out  of 
the  paper  with  a good  heavy  blotter,  as  possible,  and  then 
put  it  under  heavy  pressure  for  at  least  an  hour,  when  it  may 
be  developed  without  any  trouble. 

Large  prints  are  best  brought  in  contact  with  the  sup- 
port under  water.  This  is  done  by  either  immersing  the 
support  first  and  then  the  tissue  or  by  slipping  the  support 
under  the  tissue  at  the  proper  time,  and  then  lifting  the  two 
adhering  pieces  out  of  the  water  and  placing  them  upon  the 
squeegee  board.  The  advantage  by  this  mode  of  proceeding 
is  the  avoidance  of  air  interposing  between  tissue  and  sup- 
port, which  is  sometimes  quite  difficult  to  remove  with  the 
squeegee. 

When  the  tissue  is  taken  from  the  water  and  placed  upon 
the  support,  lay  the  latter  down  upon  a level  slab  or  squee- 
gee board,  first ; then  dash  some  clean  water  over  it,  and  as 


The  Modern  Methods  op  Carbon  Printing. 


101 


soon  as  the  tissue  flattens  out,  immediately  take  it  from  the 
water  and  holding  it  by  the  corners  diagonally  opposite,  let 
down  the  center  flrst  and  then  drop  the  corners. 

As  soon  as  the  wet  tissue  is  placed  in  proper  position 
upon  the  support,  apply  the  squeegee;  gently,  to  expel  all 
the  air  and  water,  and  then  cover  it  with  a rubber  or  thin 
oil-cloth  and  apply  the  squeegee  more  vigorously,  to  bring 
the  adhering  pieces  into  absolute  contact. 

Instead  of  using  a rubber  cloth,  a thin  sheet  of  trans- 
parent celluloid  may  be  used.  This  allows  the  tissue  and 
support  to  be  seen,  which  is  an  advantage  in  removing  air 
and  moisture.  It  is  also  much  easier  applied  and  does  not 
ruffle  up  and  cause  ridges  like  the  rubber.  A scraper  made 
of  a tbin,  firm,  but  flexible  rubber,  or  a thin,  flexible  piece  of 
wood  may  be  used  in  place  of  a squeegee,  when  using  a 
sheet  of  celluloid  in  place  of  a rubber  cloth.  After  a thor- 
ough application  of  the  squeegee  to  insure  the  proper  con- 
tact, remove  the  rubber  or  celluloid  and  with  a clean,  soft 
cloth  or  sponge,  or  with  a good,  heavy  blotter,  remove  all 
the  remaining  surface  moisture  from  the  back  and  especially 
around  the  edges  of  the  tissue. 

If  this  is  not  done,  it  will  cause  the  prints  to  become 
patchy  and  uneven  and  the  edges  will  sometimes  wash  up 
during  the  development  and  the  pictures  be  partly  ruined. 

A soft,  heavy  blotter  and  roller  squeegee  probably  does 
the  work  speedier  than  it  could  be  done  in  any  other  way; 
but  the  trouble  with  a great  many  printers,  I find,  is  that 
they  use  the  blotter  too  long — it  really  ought  to  be  used  but 
once  and  then  allowed  to  dry  before  it  is  used  again. 

The  blotter  being  wet  in  patches  will  absorb  the  mois- 
ture unevenly,  and  in  that  way  causes  a mottled  or  patchy 
appearance  of  the  picture ; therefore  a blotter  must  only  be 
used  once  or  twice  and  then  allowed  to  dry. 


102 


The  Modern  Methods  op  Carbon  Printing. 


The  adhering  pieces  of  tissue  and  support  are  now  placed 
between  thin,  dry  blotters,  stacked  one  over  the  other  and 
allowed  to  rest  under  pressure  for  from  fifteen  minutes  to 
an  hour,  according  to  the  condition  of  the  tissue  and  the  kind 
of  support  used.  A good  sign  of  sufficiency  is  when  the  yel- 
low stain  of  the  bichromate  appears  on  the  back  of  the  trans- 
fer paper. 

A new  tissue,  in  good,  soluble  condition,  requires  less 
time  than  an  old  and  probably  slightly  insoluble  one.  A 
smooth  paper  support  needs  less  time  than  a rough  one  or 
such  supports  as  celluloid  or  porcelain.  These  should  re- 
main under  pressure  considerably  longer,  especially  in  win- 
ter. 

Prints  resting  upon  transfer  paper  or  other  supports 
awaiting  development,  must  be  kept  in  a moist,  cool  place, 
and  never  be  allowed  to  become  dry. 

Sometimes  it  is  not  convenient  to  proceed  with  the  de- 
velopment as  calculated.  If  such  be  the  case,  remove  the 


blotters  from  between  the  prints  and  either  replace  them 
with  a sheet  of  glass  or  stack  them  together  and  place  in  a 
damp,  cool  place  until  ready  to  proceed  with  the  develop- 
ment. 

Tissue  transferred  to  celluloid  or  opal  glass  will  give 
finer  results  when  left  to  rest  for  a half  hour  or  even  an  hour 


TRANSFERRING  MACHINE. 


The  Modern  Methods  of  Carbon  Printing. 


103 


in  a cool  place.  Or,  if  a refrigerator  is  not  at  hand,  a. good 
and  safe  plan  is  to  plunge  the  transferred  prints  after  they 
have  remained  under  pressure  the  proper  length  of  time 
into  cold  water,  where  they  may  remain  an  indefinite  time — 
several  hours  would  do  no  harm,  so  the  water  is  kept  cool. 

The  transferring  machine  (Fig.  21)  referred  tO'  in  a pre- 
vious chapter,  works  on  the  principle  of  a clotheswringer  or 
burnisher.  Two  rubber  rollers  are  placed  one  above  the  other, 
and  the  platform  is  so  arranged  as  to  lead  the  adhering  print 
and  support  in  between  the  rollers. 

The  tissue  and  support  are  placed  between  two  sheets  of 
celluloid  and  are  passed  through  after  the  manner  of  burnish- 
ing pictures,  and  if  the  machine  is  in  good  working  order, 
the  mounting  is  rapidly  and  neatly  done.  The  slight  mois- 
ture sometimes  left  around  the  margin  of  the  tissue  must  be 
removed  with  a dry  sponge  or  cloth. 

The  employment  of  a machine  affords  a great  advantage 
over  the  ordinary  methods  for  rapidity  and  cleanliness,  and 
ought  to  be  employed  in  every  well-equipped  carbon  plant. 

te;mpe:rature;  and  crimatic  conditions. 

In  the  hot  days  of  summer  and  in  southern  climes  it  is 
best  to  use  a plentiful  supply  of  ice  when  making  the  trans- 
fer. A nice,  cool  basement  or  cellar  can  not  be  overesti- 
mated, at  such  times — the  lower  the  temperature  the  better 
the  results. 

Ten  minutes  will  be  sufficient  time  for  the  transferred 
tissue  to  rest  before  development;  a longer  time  (in  hot 
weather)  would  be  detrimental,  unless  the  tissue  be  stored 
in  a refrigerator  or  cool,  damp  place. 

In  the  development  proper,  climatic  conditions  cut  no 
figure,  unless  it  be  excessively  cold.  A newly  developed 
print  is  very  easily  ruined,  if,  when  taken  from  the  develop- 


104  The  Modern  Methods  op  Carbon  Printing. 

ing  tank,  it  is  rinsed  in  water  at  a very  low  temperature. 
Blisters,  reticulation,  and  granularity  are  sure  to  follow. 
Water  at  about  6o°  or  70°  F.  will  answer  the  purpose  best. 

instructions  tor  using  rough  drawing  and  etching 
PAPERS  AS  EINAE  SUPPORT  IN  SINGLE  TRANS- 
FER PRINTING. 

In  the  transfer  of  the  printed  carbon  image  from  its 
original  paper  support  to  another  surface,  an  essential  fea- 
ture to  success,  is  to  secure  intimate  contact  between  the  two. 

With  smooth  surfaces,  such  as  glass,  celluloid  and  many 
kinds  of  paper,  this  is  a comparatively  simple  matter,  but  the 
difficulties  encountered  are  greater  when  dealing  with  the 
rough  harsh  surfaces  and  unyielding  texture  of  drawing  and 
etching  papers,  now  so  much  in  vogue  for  their  artistic 
breadth  of  effect. 

A modified  treatment  becomes  necessary,  and  by  follow- 
ing the  method  now  recommended  and  based  on  practical  ex- 
perience, the  chances  of  failure  are  reduced  to  a minimum. 

The  transfer  paper  should  be  cut  slightly  larger  than  the 
printed  tissue  to  be  developed  upon  it.  The  cut  pieces  should 
be  immersed  in  a dish  of  cold  water  for  about  two  or  three 
hours  before  required  for  use.  Shortly  before  commencing 
operations  replace  the  cold  water  by  hot  (about  150°  Fah- 
renheit) and  allow  the  paper  to  remain  in  it  for  half  an  hour, 
the  object  being  to  render  the  transfer  paper  quite  supple 
and  to  expel  all  air,  which,  in  the  shape  of  bubbles,  might 
prove  a detriment.  The  tissue  printed  in  the  usual  way  is 
immersed  in  cold  water  until  limp.  Now  remove  the  transfer 
paper  from  the  hot  water,  laying  it  face  upwards  on  a smooth 
rigid  surface,  such  as  a glass  or  zinc  plate,  and  thoroughly 
flood  it  with  cold  water. 

The  soaked  tissue  is  now  carefully  brought  into  contact 


The  Modern  Methods  of  Carbon  Printing. 


105 


face  downwards,  a few  light,  firm  strokes  of  the  squeegee 
being  required  to  expel  any  air-bells  and  secure  complete 
adherence. 

The  adherent  tissue  and  transfer  are  then  placed  between 
blotting  boards  for  twenty  minutes  to  half  an  hour  before 
development,  which  is  conducted  in  the  usual  manner. 

The  principal  points  to  observe  are : — 

1.  To  remove  the  tissue  from  the  mounting  water  as 
soon  as  it  becomes  limp. 

2.  To  use  a soft  squeegee,  firmly,  but  without  too  much 
force. 

3.  Remove  the  backing  paper  from  the  tissue  as  soon 
as  it  will  readily  come  away. 

4.  In  hot  weather  the  alum  bath  used  after  development, 
to  be  kept  cool.  If  the  film  appears  at  all  tender  after  de- 
velopment it  is  best  to  allow  the  print  to  dry  first  and  treat 
with  alum  afterwards. 


106 


The  Modern  Methods  of  Carbon  Printing. 


CHAPTER  III. 


HOT  WATER  SUPPEY. 


T IS  usually  thought  by  those  not 
familiar  with  the  developing  ma- 
nipulations of  the  carbon  process 
that  it  requires  an  abundance  of  hot 
JT*  water  for  that  purpose,  and  that  it  is 

I T'  f » I necessary  to  construct  elaborate  and 

i I B I expensive  apparatus  and  machinery 

i-—  I Ba  to  furnish  an  adequate  supply.  This 

t is  a false  impression.  While  it  will 

found  good  policy  to  always  have 
in  readiness  more  than  a sufficient 
C[uantity,  the  supply  need  not  be  so 
great.  For  a couple  of  dozen  small 
prints  an  ordinary  kettle  full  heated 
on  an  oil  stove  will  answer  very 
well.  For  a professional  who  does  a 
moderate  amount  of  work  a small 
tank,  such  as  an  ordinary  wash-boiler,  will  furnish  a plenti- 
ful supply.  A small  geyser  constructed  as  follows,  will  be 
found  an  excellent  contrivance  for  heating  water  in  a con- 
tinuous flow  direct  from  the  hydrant. 

Into  a stout  tin  or  copper  reservoir  of  cylindrical  shape, 
having  a firm,  stout  bottom  to  it,  is  placed  a coil  of  thin 
copper  or  block  tin  pipe,  so  arranged  as  to  let  the  water  enter 
at  the  top,  and  passing  through  the  coil,  leaves  it  at  the  bot- 
tom. This  arrangement  is  placed  upon  an  ordinary  stove, 
or  may  be  heated  with  a gas  or  oil  stove,  whichever  is  the 
most  convenient. 


INSTANTANEOUS  WATER 
HEATER. 


The  Modern  Methods  op  Carbon  Printing.  107 

When  wanted  for  use,  fill  the  reservoir  with  water  and 
when  heated  to  a boiling  point  turn  on  the  water  and  let 
run  slowly — keep  the  water  boiling. 

A steady  stream  of  hot  water  will  be  supplied  by  this 
simple  contrivance  which  may  be  led  to  the  developing  tank 
or  wherever  it  is  required. 

Besides  being  very  convenient  to  move  about,  this  piece 
of  apparatus  has  the  advantage  over  one  having  an  iron 
pipe,  coiled  around  the  inside  or  outside  of  a stove,  that  the 
water  passing  through  the  lead  pipe  will  not  clog  up  with  a 
rust  or  alkali  sediment  and  stop  the  flow. 

There  are  a number  of  types  of  geysers,  or  instantaneous 
water  heating  apparatus  of  this  style  manufactured ; mostly 
with  coils  of  iron  pipe  on  the  inside,  or  around  the  outside  of 
furnace  like  arrangements  or  large  stoves.  These  are  suited 
for  large  carbon  printing  establishments  where  hot  water  is 
required  in  a continuous  flow. 

The  new  instantaneous  water  heaters  now  on  the  market, 
have  a capacity  sufficient  to  supply  enough  hot  water  for  or- 
dinary gallery  use,  and  are  cheap  and  very  convenient. 


1 


108 


The  Modern  Methods  of  Carbon  Printing. 


CHAPTER  IV. 


the;  de;veivOpme;nt — preliminary  remarks. 

A LL  THE  operations  prior  to  the  development  of  the 
^ latent  image,  are  exactly  the  same,  no  matter  whether 
intended  for  single  or  double  transfer,  or  what  the  nature 
of  the  support  may  be. 


DEVELOPING  operation. 

The  greater  part  of  the  single  transfer  pictures  are  de- 
veloped on  paper,  which  is  probably  the  cheapest  and  best  to 
use  for  ordinary  studio  work,  because  it  involves  fewer  ma- 
nipulations and  is  therefore  less  difficult  to  manage,  and, 
with  ordinary  care,  gives  uniformly  good  results. 


The  Modern  Methods  op  Carbon  Printing.  109 

For  the  above  reason  it  is  especially  recommended  to 
those  making  their  first  attempts  at  carbon  printing.  There 
are,  as  I have  previously  stated,  quite  a variety  of  excellent 
supports  that  may  be  employed  for  this  purpose,  such  as 
matt-surface  celluloid,  porcelain,  china,  opal  glass,  and  the 
finer  grades  of  baryta  paper.  For  artistic  effects,  rough 
drawing  paper  and  a paper  supplied  by  the  manufacturers 
of  carbon  tissue  called  etching  paper  gives  fine  results.  Car- 
bon pictures  on  celluloid  or  porcelain  are  very  beautiful, 
and  at  present  are  the  popular  fad  among  the  swell  people. 

The  smaller  sizes  of  carbon  pictures,  developed  with 
clean-cut  margins  on  the  heavier  grades  of  celluloid,  are 
rich  and  elegant  in  appearance,  and  are  quite  ready  for  de- 
livery, unmouted.  In  that  way  they  are  excellently  suited 
for  the  album,  for  which  purpose  they  are  greatly  preferred 
to  pictures  mounted  on  clumsy  cards. 

The  double  transfer  method  of  development  is  employed 
for  pictures  printed  from  ordinary  non-reversed  negatives, 
from  which  it  is  expected  to  produce  pictures  having  a cor- 


110 


The  Modern  Methods  op  Carbon  Printing. 


rect  or  non-reversed  position.  To  accomplish  this,  the  exposed 
tissue  is  first  transferred  to  a temporary  or  intermediate 
support,  upon  which  it  is  developed,  etc.  From  this  tempo- 
rary support  it  is  again  transferred  to  a final  support,  which 
brings  the  image  into  its  correct  position. 

By  the  latter  method,  pictures  may  be  transferred  to  al- 
most any  kind  of  support  having  a surface  smooth  enough 
to  allow  the  film  to  be  brought  in  perfect  contact  therewith ; 
usually  paper,  opal  glass,  ivory,  metal,  wood,  canvas,  etc. 

THi:  DEVELOPMENT. 

When  the  transferred  prints  have  remained  under  pres- 
sure the  required  length  of  time,  the  following  order  of 
manipulations  will  be  found  necessary  for  the  successful  de- 
velopment of  single  transfer  pictures  : 

First  immerse  the  adhering  tissue  and  support  into  a 
tank  containing  water  at  about  70°  F.  and  allow  it  to  become 
well  saturated,  which  will,  however,  take  but  a few  minutes. 

During  this  time  carefully  remove  all  the  air-bells  that 
gather  on  the  back  of  the  tissue  and  also  on  the  transfer  pa- 
per, with  a camel’s  hair  brush  or  sponge ; but  never  use  pres- 
sure enough  to  cause  spots  on  the  picture  after  development. 
The  tissue  is  immersed  in  cold  water  first,  as  a matter  of  pre- 
caution, for  the  reason  that  the  most  common  fault  with  be- 
ginners in  carbon  printing  is  the  tendency  to  use  water  too 
hot.  The  safest  and  best  plan  is  to  begin  with  water  at  about 
80°  F.  and  increase  the  temperature  gradually,  or,  if  after 
the  transfer,  the  print  has  rested  under  pressure  for  fifteen 
or  twenty  minutes,  is  immersed  in  cold  water  for  a half 
hour  or  even  an  hour,  it  will  develop  very  readily  in  water 
of  a moderate  temperature,  providing  of  course  the  tissue 
was  in  good,  soluble  condition. 

Sometimes  when  the  tissue  is  immersed  in  water  of  a 


The  Modern  Methods  of  Carbon  Printing. 


Ill 


high  temperature  at  the  start,  the  film  will  be  totally  cov- 
ered with  minute  little  air-bells,  caused  by  the  sudden  expul- 
sion of  air  from  the  tissue  by  the  hot  water,  of  which  usually 
enough  become  imprisoned  to  cause  trouble. 

It  is  for  this  reason  that  we  first  immerse  the  transferred 
tissue  in  cold  water ; it  permeates  the  paper  and  film  and  thus 
expels  all  the  air  that  is  present,  but  does  not  develop  the  im- 
age. At  the  same  time  it  dissolves  and  washes  out  a good 
part  of  the  bichromate  and  in  that  way  prevents  any  trouble 
that  might  arise  from  that  source. 

It  is  prudent  to  start  the  development  in  water  of  about 
90°  F.  and  raising  the  temperature  gradually  until  the  dark 
pigment  begins  to  ooze  out  around  the  edges  of  the  tissue, 
which  is  a sign  that  the  gelatine  has  become  sufficiently  solu- 
ble to  allow  the  paper  or  original  support  to  be  removed 
from  the  back  of  the  tissue.  This  takes  place  according  to 
the  state  of  solubility  the  tissue  happens  to  be  in.  If  in  good 
soluble  condition,  usually  at  95°  or  loo*^  F.,  otherwise  at 
105°  or  iio*^  F.  or  higher. 

Should  this  sign  fail  to  appear  within  ten  minutes  raise 
the  temperature  gradually  until  the  desired  effect  has  been 
produced,  which  should  be  between  100°  and  110°  F.  and 
at  the  highest  at  130°  F. 

When  the  pigment  begins  to  ooze  out  freely  all  around 
the  edge  of  the  tissue  the  paper  may  be  safely  removed  from 
the  gelatine  film. 

At  this  stage  the  tissue  has  been  rendered  almost  en- 
tirely insensitive,  and  light  may  now  be  freely  admitted,  to 
enable  the  operator  to'  clearly  observe  the  progress  of  the 
developing  image,  as  it  gradually  emerges  from  beneath  the 
dark  mass  of  pigmented  gelatine. 

The  water  in  the  developing  tray  must  stand  deep  enough 


U2 


The  Modern  Methods  of  Carbon  Printing. 


to  allow  the  tissue  to  be  easily  and  safely  handled  under  its 
surface. 


REMOVING  THE  PAPER 

When  removing  the  paper  or  original  support  from  the 
pigment  film,  place  the  fingers  of  the  left  hand  firmly  upon 
the  upper  margin  of  the  support,  and  with  the  right  hand 
take  hold  of  the  upper  left  hand  corner  and  with  a gentle, 
but  steady  motion,  remove  the  paper  by  pulling  it  diagonally 
across  to  the  lower  right-hand  corner.  Do  not  hurry  this 
operation,  but  proceed  cautiously,  and  if  the  paper  is  re- 
moved with  difficulty,  on  spots,  wait  patiently  until  the  gela- 
tine becomes  sufficiently  soluble,  and  then  proceed  carefully 
until  the  paper  has  been  removed.  Usually,  when  the  tissue 
is  in  good  soluble  condition,  the  paper  is  removed  with  ease, 
in  fact  it  fairly  drops  off. 

The  paper  thus  removed  has  served  its  purpose  and  is  of 
no  further  use.  Fold  it,  gelatine  side  together,  and  throw 
it  aside. 

The  film  at  this  stage  must  remain  carefully  submerged, 
and  not  allowed  to  come  to  the  surface  until  most  of  the 
bichromate  has  been  washed  out,  and  the  development  of 
the  image  has  well  progressed. 


The  Modern  Methods  of  Carbon  Printing. 


113 


If  this  is  not  done,  and  the  film  exposed  to  the  air  for  any 
length  of  time,  reticulation  or  a very  fine  froth,  causing  tiny 
little  air-bells,  will  cover  the  entire  surface,  and  \yill  totally 
ruin  the  picture.  Sudden  changes  of  temperature  must  also 
be  carefully  avoided.  Cold  water  poured  upon  a print  at 
this  stage  will  cause  a bad  reticulation,  or  granulation  of 
the  film. 

The  now  exposed  mass  of  pigmented  gelatine  is  immedi- 
ately acted  upon  by  the  warm  water,  which  gradually  dis- 
solves all  the  unaffected  gelatine,  and  with  it,  washes  away 
the  pigment  it  contained ; thus  revealing  the  image  as  the 
development  progresses. 

When  the  removal  of  the  paper,  or  original  support  has 
been  affected  at  a temperature  of  about  loo'^  to  105°  F.,  it 
is  prudent,  at  this  stage  of  the  development,  to  lower  the 
temperature  of  the  developing  tank  to  about  90®  F.  until  it 
is  seen  from  the  action  of  the  hot  water,  whether  the  tissue 
was  correctly  exposed  or  not.  If  the  image  begins  to  clear 
up  very  rapidly  the  tissue  has  been  under-exposed,  and  if  it 
is  possible  to  lower  the  temperature,  quickly,  the  print  may 
be  saved  by  developing  it  in  water  of  about  80*^  F. 

When  the  removal  of  the  paper  from  the  back  of  tissue 
which  was  known  to  be  in  good  soluble  condition  before  ex- 
posure, takes  place  with  difficulty,  even  in  water  of  a high 
temperature , it  is  evident  that  the  tissue  had  been  rendered 
insoluble,  or  partly  so,  from  over  exposure  or  the  continu- 
ous action  of  light.  When  this  is  found  to  be  the  case,  raise 
the  temperature  gradually  until  the  paper  will  strip  without 
injury  to  the  film,  and  then  lower  it  to  about  90^^  F.  until 
the  bichromate  has  been  well  washed  out.  Then  again, 
raise  the  temperature  gradually  to  a degree  that  will  affect 
the  solubility  of  the  gelatine  sufficiently  to  free  the  image  of 
its  superfluous  pigment. 


114  The  Modern  Methods  of  Carbon  Printing. 

When  hot  water  at  150°  F.  fails  to  have  the  desired  ef- 
fect, the  only  remedy  left  is  to  apply  an  alkali;  such  as 
borax,  ammonia,  carbonate  or  bicarbonate  of  soda ; or,  the 
chlorides  of  sodium,  magnesium,  barium,  or  zinc.  These 
must,  however,  be  used  with  care,  especially  those  having 
an  alkaline  reaction,  such  as  ammonia,  on  account  of  their 
liability  of  producing  granularity  or  reticulation. 

The  safest  way  to  use  these  chemicals  is  to  employ  them 
in  a very  mild  form,  and  let  the  action  be  long.  I greatly 
prefer  carbon-reducine  to  any  of  the  alkalies  on  account  of 
its  mild  and  safe  action.  Common  salt  may  be  used  to  ad- 
vantage, but  chloride  of  magnesium  gives  finer  results.  The 
judicious  use  of  the  chemicals  named,  especially  the  carbon- 
reducine,  will,  in  the  majority  of  cases  accomplish  the  de- 
sired results. 

Hot  water  applied  locally  with  a vessel  having  a long 
spout  to  it  or  with  a small  spray  will  effectually  clear  up  dark 
masses  of  clogged  up  shadows,  and  will  materially  aid  a 
tardy  development. 

If  the  tissue  has  been  prepared  under  favorable  condi- 
tions, and  the  exposure  was  fairly  correct,  the  gelatine  will 
readily  yield  to  the  action  of  warm  water,  and  will  allow 
the  paper  to  be  easily  removed.  The  image  will  clear  up 
rapidly  and  the  development  will  be  accomplished  without 
the  least  difficulty.  The  resulting  pictures  will  appear  with 
brilliant  high  lights,  fine  gradations,  beautiful  half-tones  and 
soft,  velvety  shadows.  Allow  the  picture  to  remain  in  the 
developing  tank  long  enough  to  completely  dissolve  away 
the  soluble  gelatine  and  wash  out  all  the  loose  pigment. 
When  this  has  been  thoroughly  done,  pour  some  clean  water 
of  about  the  same  temperature  as  that  of  the  developing 
tank,  over  the  picture  and  allow  it  to  drain.  If  there  is  no 


The  Modern  Methods  of  Carbon  Printing. 


115 


coloring-  matter  in  the  drip,  the  development  may  be  called 
complete. 

The  newly  developed  print  is  then  placed  into  a tray  of 
clean,  cold  water  (at  about  60*^  F.)  for  a few  minutes  to 
stiffen  the  film,  before  it  is  put  into  the  alum  bath. 

It  is  well  to  be  reminded  here,  that  to  obtain  bright,  clear 
pictures  from  thin,  delicate  negatives,  it  is  necessary  to  em- 
ploy perfectly  fresh  tissue,  sensitized  on  a bath  of  medium 
strength ; old  tissue  employed  for  negatives  of  this  kind 
will  yield  flat,  sunken-in  appearing  pictures ; and  that  dense, 
hard  negatives  requires  tissue  several  days  old,  and  must  be 
sensitized  on  a bath  of  good  strength.  If  a tissue  suitable 
for  the  latter  class  of  negatives  is  not  on  hand,  expose  a 
piece  of  new  tissue  to  a diffused  light  for  a few  seconds  to 
cause  a slight  insolubility  over  the  entire  surface.  This  will 
soften  the  harsh  lights  and  will  prevent  the  detail  from  be- 
ing destroyed  by  the  hot  water,  and  a soft,  delicate  picture 
will  be  the  result. 

On  the  other  hand,  if  a fresh  tissue  would  be  used,  with- 
out taking  these  precautions,  a harsh,  chalky,  black  and 
white  picture,  devoid  of  all  detail  or  half-tones  would  be  the 
result. 

One  more  important  item  should  be  mentioned  here, 
namely ; the  difference  in  solubility  of  the  different  pigments, 
or  coloring  matter  used  in  preparing  the  tissue.  Some  pig- 
ments are  much  more  soluble  than  others  and  dissolve  and 
wash  away  quite  freely.  When  this  is  found  to  be  the  case 
due  allowance  should  be  made  therefor  by  prolonging  the 
exposure  of  the  tissue  while  printing  under  a negative.  Ex- 
pert carbon  printers  when  using  tissue  of  this  kind,  usually 
overprint  a little,  and  towards  the  end  of  the  development 
employ  Avater  of  a high  temperature.  In  this  manner  the 
resulting  pictures  will  possess  finer  gradation  and  will  ap- 


116 


The  Modern  Methods  of  Carbon  Printing. 


pear  more  brilliant  throughout.  This  will  be  found  espe- 
cially true  where  there  are  masses  of  fine  lace  and  white 
draperies. 

During  the  development  care  should  be  exercised  in  ma- 
nipulating the  prints  not  to  allow  the  hands  to  come  in 
contact  with  the  soft,  gelatinous  surface,  for  it  is  very  easily 
injured  when  in  that  condition. 

It  should  be  borne  in  mind  that  carbon  prints  always 
dry  down  a little  darker  than  they  appear  in  a Avet  state, 
therefore,  in  order  to  have  the  proper  intensity  they  should 
appear  just  a little  lighter  Avhen  in  a wet  state. 


The  Modern  Methods  of  Carbon  Printing. 


117 


CHAPTER  V. 


MARTON's  PDR^ElCTION  DEVELOPING  TRAY. 

IV /r  OST  unsuccessful  attempts  at  carbon  printing  may  be 
attributed  to  the  lack  of  proper  developing  arrange- 
ments, or  the  use  of  crude  and  impractical  methods  and 
apparatus,  such  as  are  employed  by  carbon  printers  of  the 
old  school. 


MARTON’S  PERFECTION  DEVELOPING  TRAY. 


For  the  ordinary  run  of  studio  work  there  has  never 
been  a better  arrangement  known  than  our  Perfection  De- 
veloping Tray.  This  is  probably  the  most  practical  piece  of 
apparatus  ever  invented,  for  ease  of  manipulation  and  rapid 
development  of  carbon  pictures.  It  may  be  constructed  of 
copper,  which  makes  the  lightest  and  neatest  looking  tray; 
but,  where  economy  is  an  object,  galvanized  iron  will  an- 
swer the  purpose  just  as  well  and  will  cost  less  than  half  as 
much. 


118 


The  Modern  Methods  op  Carbon  Printing. 


The  size  is  immaterial ; it  may  be  large  or  small,  to  suit 
the  purpose  of  the  operator.  Where  carbon  printing  is  car- 
ried on  extensivel}^  it  is  of  course,  necessary  to  have  a num- 
ber of  these  trays  made  in  various  sizes. 

Referring  to  the  above  cut,  it  will  be  seen,  that  one  end 
resembles  an  ordinary  tray ; attached  to  the  opposite  end  is  a 
reservoir  A,  which  must  be  made  deep  enough  to  hold  a good 
quantity  of  water,  and  be  rounded  at  the  bottom,  so  that  it 
may  be  easily  tilted  or  rocked,  to  agitate  the  water.  A small 
gas  stove,  placed  under  the  reservoir,  will  serve  to  heat  the 
water  and  keep  it  up  to  any  desired  temperature  during  de- 
velopment. 

At  C,  where  the  tray  joins  the  reservoir,  is  a narrow 
strip  or  bar  ^ of  an  inch  high ; this  keeps  the  zinc  plate  that 
holds  the  pictures,  in  place,  and  at  the  same  time  forms  a 
tray  deep  enough  to  keep  the  prints  under  water. 


size  print  by  the  four  corners ; there  may  be  one  or  a dozen, 
owing  to  their  size. 

The  transfer  paper  or  celluloid,  must  of  course,  all  be 
of  a uniform  size. 

Small  pictures  are  placed  close  together  as  shown  in  the 
cut,  and  one  clip  holds  two  prints,  where  they  join. 

These  clips  should  not  be  of  the  light  flimsy  kind,  but 
should  be  well  made  and  have  a good,  strong  spring. 

Leger  & Son,  Chicag'o,  make  the  best  clip  for  the  purpose, 
or  they  may  be  bought  in  any  window-display  fixture  store. 


retainer  chip. 


The  cut  to  the  right 
shows  the  retainer  or  lit- 
tle clip  used  to  hold  the 
pictures  in  place.  These 
are  soldered  onto  a sheet 
of  zinc,  a suitable  distance 
apart,  to  hold  any  given 


The  Modern  Methods  op  Carbon  Printing. 


119 


c A 


The  above  cut  shows  the  same  tray  with  a reservoir  at 
each  end — Nos.  i and  2.  These  are  connected  by  pipes  E.  E. 
At  A.  we  have  a narrow  bar,  a ^ or  ^ inch  high,  which 
forms  a shallow  tray  B.  B. 

The  prints  for  development  are  placed  into  the  tray  as 
shown  in  these  cuts.  The  water  is  dipped  out  of  reservoir 
No.  2 and  poured  into  the  funnel  shaped  trough  C.  from 
which  it  flows  down  over  the  pictures  with  enough  force 
to  carry  all  the  soluble  gelatine  and  pigment  with  it,  into 
reservoir  No.  i at  D ; where  it  is  again  warmed  up  to  the 
proper  temperature,  and  finds  its  way  back  into  reservoir 
No.  2.  From  which  it  is  again  poured  over  the  prints — and 
is  thus  repeated  until  the  pictures  are  developed. 

The  funnel  or  trough  may  be  supplied  with  muslin  or 
cheese  cloth,  to  filter  or  catch  the  coarser  particles  of  pigment 
or  dirt  that  may  be  floating  in  the  water. 

To  use  the  above  apparatus,  transfer  the  prints  in  the 
usual  way;  if  on  paper,  let  rest  for  ten  or  fifteen  minutes; 
on  celluloid,  twenty  or  thirty  minutes  (in  summer,  cut  the 
time  short.)  Then  place  them  in  rotation  in  cold  water  for 
at  least  ten  or  fifteen  minutes — but  an  hour  will  do'  no  harm. 


120 


The  Modern  Methods  op  Carbon  Printing 


This  will  expel  the  air  and  make  the  gelatine  easily  soluble, 
and  consequently  a quick  development. 

Dip  the  water  from  the  reservoir  and  pour  it  over  prints 
at  the  upper  end  of  the  tray;  from  whence  it  flows  down 
over  the  prints,  back  into  the  reservoir.  Repeat,  and  rock 
the  tray  to  agitate  the  water. 

An  instructor  of  carbon  printing  recently  paid  me  a visit. 
He  had  traveled  extensively  and  had  charged  fifty  to  seventy- 
five  dollars  “a  clip"  as  he  called  it  to  “put  the  boys  on.” 

During  his  conversation  he  said,  “Now  you  know  very 
well,  that  all  a good  carbon  printer  can  do  is  to  get  off  fifteen 
or  eighteen  good  prints  a day,  and  it  hustles  him  to  do  that.” 
Before  he  could  say  any  more,  I motioned  for  him  to  follow 
me  and  I took  him  to  the  developing  room,  where,  as  it  hap- 
pened, I just  had  a lot  of  carbon  prints  transferred,  ready 
for  development. 

I got  out  my  perfection  developing  tray  and  filled  the 
reservoir  with  warm  water ; then  I took  down  a retainer  for 
1 6 cabinet  pictures  and  filled  it  with  the  transferred  prints 
and  started  to  develop. 

In  a remarkably  short  time,  I had  sixteen  sparkling  car- 
bon prints  on  the  plate. 

My  visitor  Avas  dumbfounded,  and  when  he  regained  his 
speech,  he  exclaimed,  “Sixteen,  by  thunder,  and  every  one 
perfect,  and  you  never  touched  them !”  He  then  began  to 
wonder  why  in  the  world  he  had  never  thought  of  such  a 
simple  arrangement  himself.  He  felt  just  like  bumping  his 
head.  Here  he  had  worked  and  worried  for  twenty  years 
over  one  little  picture  at  a time,  which,  in  the  majority  of 
cases,  had  to  be  made  over  to  get  a perfect  print.  He  asked 
my  consent  to  use  the  developing  tray,  and  with  a few  other 
pointers  he  went  away  rejoicing. 

There  are  hundreds  of  professionals  Avho  are  plodding 


The  Modeen  Methods  op  Cakbon  Printing. 


121 


along  in  just  the  same  way — were  probably  taught  by  just 
such  a fellow  as  the  one  that  called  on  me. 


THD  pi;rfe;ction  ve^rticar  de;ve:roping  tank. 

For  a carbon  plant  or  work  on  a more  extended  scale,  the 
vertical  developing  tank  (Fig.  28),  is  probably  the  best  piece 
of  apparatus  ever  invented.  It  lessens  the  developing  manip- 
ulations to  a great  extent  and  makes  it  possible  to  develop 
two,  three  or  five  dozen  prints,  simultaneously,  without 
splash  or  muss. 

This  is  a great  advantage  over  the  old  method  and  en- 
ables the  printer,  not  alone  to  turn  out  a vastly  greater  num- 
ber of  prints  in  a day,  but  his  work  will  be  greatly  superior, 
and  the  loss  of  prints  from  over-exposure  will  be  reduced  to 
a very  small  per  cent.  A great  number  of  carbon  printers  in 
this  country  and  in  Europe,  speak  very  highly  of  its  efficiency 
and  have  permanently  adopted  it  for  their  establishments. 

A glance  at  the  above  diagram  will  give  a clear  idea  of 
its  construction.  The  vertical  tank  proper  is  arranged  to  the 
right ; on  the  left  or  slanting  side,  is  placed  a movable  plat- 


122 


The  Modern  Methods  of  Carbon  Printing. 


form  hinged  at  the  end  of  the  tank,  and  is  so  arranged  as  to 
allow  the  end  projecting  into  the  tank  to  be  raised  and  low- 
ered at  will. 

The  water  supply  pipe  is  arranged  at  the  end  and  sides 
of  the  deep  part  of  the  tank,  and  is  fed  by  a double  pipe  ar- 
rangement leading  from  the  hydrant  and  hot  water  appa- 
ratus. By  means  of  the  faucets,  water  at  any  desirable  tem- 
perature may  be  supplied  to  the  tank.  The  water  enters  at 
the  top  and  passes  down  and  out  through  the  opening  at  the 
bottom.  A waste  pipe  leading  from  this  opening  is  so  ar- 
ranged as  to  keep  the  water  up  to  a certain  level  while  the 
pictures  are  in  process  of  development. 

When  this  apparatus  is  put  to  use  it  is  first  filled  with 
water  at  about  90*^  or  100°  F.  and  the  platform  raised  to 
the  level. 

Work  is  commenced  by  taking  the  transferred  prints 
from  the  cold  water  tank  and  placing  the  same  into  the  reser- 
voir of  the  developing  tank,  where  it  remains  until  the  pig- 
ment begins  to  show  signs  of  softening.  When  the  dark  pig- 
ment begins  to  ooze  out  freely  around  the  edges  of  the  tis- 
sue, it  is  transferred  to  the  platform  of  the  tank,  where  die 
original  support  is  removed  from  the  tissue.  The  movable 
end  of  the  platform  is  then  detached  and  allowed  to  drop 
down  into  the  water,  which  enables  the  operator  to  remove 
the  print  now  resting  on  its  new  support  to  the  deep  end  of 
the  tank,  where  it  is  suspended  in  a vertical  position,  without 
necessitating  its  removal  from  the  water  or  exposing  it  to  the 
atmosphere  in  that  condition. 

The  development  of  carbon  pictures  resting  upon  paper  or 
thin  celluloid  supports  is  done  by  fastening  the  transferred 
prints  on  sheets  of  tin  or  zinc,  having  spring  clips  or  retainers 
by  which  to  fasten  one  or  a dozen  prints,  as  the  case  may  be, 
and  are  so  arranged  that  they  may  be  suspended  from  fasten- 


The  Modern  Methods  op  Carbon  Printing. 


123 


ings  on  a bar  placed  across  the 
tank.  All  the  transferred  prints 
are  treated  in  exactly  the  same 
manner,  and  when  the  last  piece 
has  been  suspended,  the  water  is 
turned  on  quite  briskly.  The  force 
or  downward  flow  of  the  water 
washes  away  the  bichromate  and 
carries  down  with  it  all  the  soluble 
gelatine  and  the  coloring  matter 
contained  therein,  and  thus  clears 
and  develops  the  image  in  the 
most  perfect  manner.  As  soon 
as  the  bichromate  has  been  well  washed  out  and  the 
image  begins  to  clear,  the  picture  may  be  lifted  from  the 
water,  to  observe  the  progress  of  the  development.  If  some 
of  the  prints  show  signs  of  under  exposure,  lower  the  tem- 
perature to  a suitable  degree  until  all  the  weak  prints  have 
been  developed,  which  are  then  removed  to  the  cold  water 
tray  or  tank ; and  the  temperature  again  raised  to  a degree 
suitable  to  complete  the  development  of  the  remaining  prints. 

Should  any  of  the  pictures  be  much  too'  dark  or  require 
local  development,  place  them  into  a perfection  developing 
tray  and  apply  water  of  a high  temperature,  to  those  parts 
that  need  clearing.  After  giving  this  piece  of  apparatus  a 
fair  trial,  its  advantages  over  the  old  method  will  be  appar- 
ent. Aside  from  being  cleanly,  it  lessens  the  labor  by  short- 
ening the  development  to  a wonderful  degree ; then,  too  the 
pictures  are  not  liable  to  be  injured  by  handling  during  the 
process  of  development. 

When  once  suspended  in  the  tank  they  are  not  disturbed, 
and  need  no  further  attention,  (unless  there  are  some  that 
are  undertimed,)  until  development  is  complete. 


RETAINER, 


124 


The  Modern  Methods  of  Carbon  Printing. 


ARRANGEMENT  OF  TRAYS,  TANK  AND  HOT  WATER  APPARATUS. 


The  Modern  Methods  op  Carbon  Printing. 


125 


VERTICAL  TANK. 

iron  does  very  well  for 


Whenever  the  vertical  develop- 
ing tank  is  employed,  it  is  neces- 
sary to  also  have  vertical  tanks  in 
.which  to  suspend  the  developed 
pictures. 

These  tanks  may  be  made  of 
wood  and  lined  with  rubber  or  oil- 
cloth for  the  alum  bath,  for  large 
pictures;  for  small  work,  the  or- 
dinary negative  fixing  bath  holder 
may  be  used.  Tin  or  galvanized 
hot  or  cold  water  tanks. 


126 


The  Modern  Methods  op  Carbon  Printing. 


CHAPTER  VI. 


thi;  de;ve:lopme:nt  op  carbon  pictures  on  heavy  cellu- 
loid^ porcelain  or  opal  glass. 

The  best  and  most  expe- 
dient way  of  developing  car- 
bon pictures  on  heavy  cellu- 
loid or  porcelain  glass,  is  by 
the  tank  method. 

These  tanks  or  bath-hold- 
ers are  made  similar  to  the 
tanks  commonly  used  for 
hypo  or  negative  fixing 
baths,  and  are  probably  the 
most  convenient  piece  of  ap- 
paratus that  could  be  devised 
for  the  purpose. 

They  may  be  made  any  size,  large  or  small,  to  suit  the 
purpose  or  convenience  of  the  operator.  The  4x53^  and 
5x7  plates  are  probably  the  most  popular  of  the  smaller 
sizes,  and  for  these  the  ordinary  fixing  baths  may  be  made 
use  of,  especially  for  the  alum  and  clearing  solutions. 

The  hot,  as  well  as  the  cold,  water  tanks  are  best  made 
of  galvanized  iron  or  copper,  and  can  be  had  at  a small  ex- 
pense. 

The  mode  of  development  is  very  simple.  About  15  or 
20  minutes  after  the  transfer  has  taken  place,  fill  a tank  with 
clean,  cold  water  at  about  6o°F.  and  drop  the  plates  or  cel- 
luloid into  the  grooves.  See  that  no  air-bells  gather  on  the 


ALUM  TANK. 


The  Modern  Methods  of  Carbon  Printing. 


127 


back  of  the  print  when  first  introduced.  It  is  immaterial  how 
long  the  prints  remain  in  the  cold  water  before  development ; 
ten  minutes,  an  hour,  or  even  two  or  three  hours,  will  do  no 
harm ; but  in  a prolonged  immersion,  it  is  best  to  change  the 
water  at  least  once  or  twice,  to  get  rid  of  the  bichromate. 
The  development  may  then  take  place  to  suit  the  conveni- 
ence of  the  operator. 


When  ready  to  begin  fill  a tank  with  water  at  about 
105°  F.  and  then  take  the  transfers  from  the  cold  water  and 
drop  them  into  the  grooves  of  the  hot  water  tank.  If  there 
are  any  signs  of  froth  or  air-bells  gathering  on  the  backs  of 
the  prints,  pass  over  each  transfer  with  a brush  or  soft 
sponge. 

When  the  gelatine  softens  and  the  pigment  begins  to 
ooze  out  quite  freely,  around  the  edges  of  the  print,  remove 
the  plate  to  a tray  containing  water  at  about  the  same  tem- 
perature of  the  hot  water  tank;  then  carefully  remove  the 
paper  from  the  film  and  immediately  return  the  plate  to  the 
tank.  Proceed  in  like  manner  with  all  the  other  plates,  then 


128  The  Modern  Methods  op  Carbon  Printing. 

let  them  remain  in  the  hot  water  until  the  unaffected  gelatine 
is  well  dissolved;  then  take  them  again  in  rotation,  and 
place  them  into  a perfection  developing  tray  of  a 
suitable  size ; a tray-shaped  arrangement  designed  purposely 
for  clearing  carbon  pictures  of  their  superfluous  pigment. 

If  the  tissue  happens  to  be  in  a good,  soluble  condition,  a 
few  dashes  of  warm  water,  dipped  from  the  reservoir,  will 
suffice  to  quickly  clear  up  the  print,  and  complete  the  devol- 
opment.  Should  it  act  a little  slow,  however,  raise  the  tem- 
perature of  the  water  gradually,  to  a degree  that  will  pro- 
duce the  desired  effect. 

Over-printed  pictures  may  be  reduced  by  a continuous 
soaking  in  hot  water ; should  this  remedy  fail,  however, 
add  a little  of  a lo  per  cent  solution  of  carbon  reducer  to  the 
hot  water.  Be  careful  of  an  overdose  of  this  reducing  agent ; 
add  it  slowly,  and  in  small  quantities  until  the  picture  has 
sufficiently  cleared  up.  The  action  may  be  stopped  immedi- 
ately by  plunging  the  plate  into  clean  water  at  a moderate 
temperature.  Should  this  reducing  agent  fail  to  have  the 
desired  effect,  then  the  picture  is  beyond  redemption,  and 
may  as  well  be  discarded.  Clean  the  plate  while  the  film  is 
still  in  a soft  condition.  After  the  development,  rinse  the 
pictures  well  in  clean,  cold  water  and  place  them  for  five 
minutes  into  a well-filtered  solution  (3  per  cent)  of  common 
alum.  Rinse  in  five  or  six  changes  of  perfectly  clean  water 
and  place  them  on  a rack  to  dry. 

Should  the  pictures  lack  in  clearness,  or  pureness  of 
tone  when  taken  from  the  alum  bath,  immerse  them  for  five 
minutes  in  a three  per  cent  antichrome  clearing  solution ; 
then  rinse  and  place  them  on  a rack  to  dry. 


The  Modern  Methods  of  Carbon  Printing. 


129 


CHAPTER  VII. 


CARBON  PRINTING  IN  HOT  WEATHER. 

TOURING  the  hot  days  of  summer  the  carbon  printer  often 
finds  it  a very  difficult  task  to  obtain  satisfactory  results 
by  ordinary  means.  He  is  therefore  obliged  to  resort  to 
various  methods  to  overcome  the  difficulties  brought  on  by 
an  excessively  high  temperature. 

In  the  first  place,  we  must  have  a room  that  is  reason- 
ably cool  and  dry  in  which  to  sensitize  and  dry  the  tissue; 
the  latter  must  be  done  in  as  short  a time  as  possible.  The 
printing  must  be  done  in  the  shade,  or  by  electric  light,  for 
which  the  aristo  lamp  comes  into  splendid  advantage  now. 
Thin  negatives,  but  snappy  and  full  of  details,  are  the  proper 
thing  for  hot  weather  printing ; they  require  a weak  bichro- 
mate bath,  and  can  be  easily  and  quickly  printed  in  the 
shade.  The  developing  may  be  done  in  a cool  basement 
even  though  it  be  a little  damp;  but  if  such  place  is  not 
available,  plenty  of  cool  water  (ice  water)  is  all  that  is 
necessary. 

In  extremely  hot  weather,  the  sensitizing  bath  must  be 
weak  in  bichromate,  and  contains  a good  per  cent  of  ether 
and  alcohol  with  a few  drops  of  a lo  per  cent  solution  of  bi- 
chloride of  mercury  added.  The  tissue  may  also  be  coated 
with  plain  collodion  to  prevent  reticulation.  This  is  done  by 
fastening  the  tissue  to  a tablette  or  suitable  board  with  thumb 
tacks.  Coat  it  with  a i or  i^  per  cent  collodion;  flowing 
the  collodion  over  the  tissue  after  the  manner  of  coating  a 
negative  plate  with  varnish.  Immediately  after  the  collo- 


130 


The  Modern  Methods  of  Carbon  Printing. 


dion  has  set,  take  the  tissue  from  the  board  and  immerse  it 
in  clean,  cold  water:  agitate  the  water  until  all  the  greasy 
lines  have  disappeared  and  the  water  flows  smoothly  over 
the  surface.  It  is  then  taken  and  hung  up  or  placed,  face  up, 
on  a board  or  plate  of  glass,  so  inclined  as  to  drain  the  water 
well  from  the  surface ; for  the  squeegee  cannot  be  employed 
on  account  of  the  very  tender  surface  of  the  collodion  film. 

After  the  tissue  has  become  perfectly  dry,  go  over  the 
surface  with  a waxing  solution,  after  the  manner  of  waxing 
a paper  temporary-  support ; this  must,  however,  be  polished 
in  a way  that  nearh’  all  the  wax  is  rubbed  from  the  surface. 
The  paper  is  then  ready  to  be  sensitized  the  next  day. 

The  sensitizing  is  done  in  the  usual  manner  with  the  ex- 
ception that  the  bath  is  much  weaker  and  is  used  at  a very 
low  temperature.  The  squeegeeing  is  omitted  on  account  of 
the  collodion  film,  and  the  tissue  is  hung  up  in  a current  of 
pure  air  to  dry. 

Tissue  prepared  in  the  above  manner  is  of  course  in- 
tended for  double  transfer  pictures;  and  must  therefore, 
after  exposure,  be  transferred  to  a waxed  temporarv’  support 
for  development. 

Another,  and  probably  a more  simple  method  is  the  fol- 
lowing : A perfectly  clean  glass  is  coated  with  ox  gall  i part, 
water  5 parts,  and  is  allowed  to  dry.  "Wlien  dry,  coat  again 
with  albumen  i oz.,  water  10  oz.,  bichromate  of  ammonia  i 
dram.  When  dry,  expose  the  plates  to  a strong  light  for 
about  10  minutes  or  longer,  to  make  the  film  insoluble,  and 
the  plate  is  ready  for  use.  When  the  pigment  tissue  is  taken 
from  the  sensitizing  bath,  it  is  squeegeed  against  the  albu- 
menized  plate,  which  is  then  placed  in  a good  draught  to  dry. 
^^’hen  dr}’,  it  will  strip  from  the  plate  with  a smooth,  bril- 
liant surface  and  will  give  splendid  contact  to  the  negative. 


The  Modern  Methods  of  Carbon  Printing. 


131 


Tissue  prepared  in  this  manner  is  intended  for  single 
transfer  pictures ; The  insoluble  albumen  film  over  the  sur- 
face of  the  tissue  will  hold  and  preserve  all  the  details  of  the 
negative  and  will  effectually  prevent  reticulation  and  granu- 
larity. 

For  the  best  results,  use  the  bath  containing  ether  and 
alcohol  and  make  up  a new  bath  for  each  bath  of  tissue. 
Dry  the  tissue  in  a drying  box  having  an  exhaust  fan  at- 
tached to  it. 

For  quick  or  immediate  work  in  hot  weather,  the  new 
chromic  sensitizer  referred  to  in  Chapter  XI,  page  50,  is 
probably  the  best  and  most  convenient  to  use.  The  tissue 
dries  out  very  rapidly,  and  is  ready  for  printing  just  as  soon 
as  dry. 

Make  the  transfer  in  a tray  deep  enough  to  allow  all 
manipulations,  such  as  turning,  brushing  over  the  surface 
of  the  film  and  attaching  it  to  the  support,  to  be  done  under 
the  surface  of  the  water.  Give  the  tissue  time  to  fully  ex- 
pand or  until  it  begins  to  turn  backward,  before  placing  it 
upon  the  support. 

The  methods  given  above  are,  of  course,  extreme  meas- 
ures, which  may  be  resorted  to  should  the  ordinary  methods 
fail  to  give  satisfactory  results. 


132  The  Modern  Methods  of  Carbon  Printing. 


chapter  Vlll. 


THE  USE  OF  ACIDS  AND  ALKALIES  IN  DEVELOPMENT. 


CIDS  and  alkalies  are  frequently  made  use  of  in  the 


development  as  well  as  the  reduction  and  clearing  up 
of  over-printed  carbon  pictures. 

Hydrochloric  vfc/c?.— Over-printed  carbon  pictures  that 
will  not  yield  to  the  action  of  hot  water,  if  first  treated  to  a 
bath  of  hydrochloric  acid  in  a one  per  cent  solution,  will  then 
readily  yield  to  the  action  of  hot  water,  and  the  desired  re- 
duction will  be  easily  accomplished. 

Sulphuric  Acid  acts  a little  more  energetic  than  hydro- 
chloric, but  the  general  effect  is  about  the  same. 

Nitric  Acid  is  sometimes  used  for  the  same  purpose,  but 
attacks  the  gelatine  rather  forcibly.  Therefore,  on  account 
of  the  milder  action  of  hydrochloric  or  sulphuric  acids,  these 
are  preferable. 

Acetic  and  Citric  Acids  give  similar  results  to  those  ob- 
tained with  mineral  acids ; but  in  a very  diluted  state,  their 
action  is  much  slower.  A strong  solution  of  acetic  acid  will, 
however,  develop  a carbon  picture  in  a cold  state. 

Liquid  Ammonia  attacks  bichromated  gelatine  quite 
forcibly  and  must  be  used  with  care.  A few  drops  added  to 
the  developing  water  will  clear  the  image  very  rapidly. 

Carbonate  of  Ammonia  acts  similar  to  the  liquid  am- 
monia, but  its  action  is  considerably  milder  and  much  slower. 

Carbonate  of  Soda  is  a little  milder  in  its  action  than 
ammonia,  and  has  certain  good  qualities  that  recommend  it 
to  the  careful  worker.  A one,  to  three  per  cent  solution  works 
moderately  and  is  veiy  easily  controlled — the  action  may  be 


The  Modern  Methods  of  Carbon  Printing. 


133 


stopped  at  a moment’s  notice.  It  is  therefore  preferable  to 
ammonia. 

Caustic  Potash  and  Soda  quickly  reduce  a bichromated 
gelatine  film,  and  therefore  on  account  of  their  too  forcible 
action,  are  unsuitable  as  reducers  for  over-printed  carbon 
pictures. 

Chloride  of  Sodium  is  very  mild  in  its  action  on  exposed 
carbon  tissue  and  is  mostly  used  to  clear  up  slightly  over- 
printed pictures. 

Borax  and  Borasic  Acid  have  a very  mild  effect  on  car- 
bon prints,  and  the  action  is  very  easily  controlled. 

Chloride  of  Lime  is  highly  recommended  as  a reducing 
agent  for  over-printed  carbon  pictures,  but  many  printers 
prefer  sodium  chloride  for  a slight  reduction.  The  action 
is  milder  and  better  under  control. 

Sulphocyanide  of  Potash  and  Ammonia  will  develop  pig- 
ment tissue  in  cold  solution,  but  the  action  is  slow  and  un- 
certain. A small  addition  to  the  hot  developing  water  will 
aid  materially  in  cleaning  up  and  forcing  a tardy  develop- 
ment. 

Barium  Chloride  in  a cold  aquaous  solution  will  develop 
carbon  pictures  but  must  be  used  with  great  care  and  judg- 
ment. If  used  to  excess  it  will  dissolve  the  entire  film. 

Bichromate  of  Potash  Avill  dissolve  the  unaffected  gela- 
tine, but  its  use  is  restricted  more  to  photo-mechanical  print- 
ing than  the  carbon  process. 

In  conclusion,  it  is  well  to  mention  that  both  acids  and 
alkalies — the  latter  especially,  must  be  used  sparingly — in 
weak  solutions  and  at  a rather  low  temperature,  to  avoid 
reticulation  or  granulation. 


134  The  Modern  Methods  of  Carbon  Printing. 

GENERAL  remarks. 

The  most  perplexing  difficulty  met  with  by  the  beginner 
in  carbon  printing,  is  insolubility  of  the  tissue. 

This  vexation  will  prey  upon  his  efforts  until  he  learns 
by  practical  experience,  how  to  take  proper  care  of  his  bi- 
chromate solutions  and  how  to  protect  the  sensitive  tissue 
from  foul  air  and  dampness,  and  against  exposure  to  such 
light  as  would  set  up  a hardening  action,  no  matter  how  faint 
it  appears  to  be. 

While  a slight  exposure  to  white  light  would  probably 
not  prove  injurious  to  the  printing  qualities  of  tissue  in- 
tended for  immediate  use,  it  is  well  to  bear  in  mind  that  the 
action  is  continuous;  no  matter  how  silght  the  exposure 
appeared  to  be,  it  will  in  time,  penetrate  the  whole  film  and 
cause  total  insolubility. 

A very  frequent  cause  of  insolubility  is  the  excessive  use 
of — and  sometimes  a poor  quality  of — bichromate,  in  the 
sensitizing  bath. 

It  is  best  to  use  only  the  chemically  pure  and  renew  the 
solution  frequently. 

The  strength  of  the  bath  should  be  used  with  due  regard 
to  temperature  and  climatic  conditions,  and,  whep  employed 
at  a high  strength,  the  superfluous  solution  must  always  be 
carefully  removed  from  the  film  before  drying,  by  squeegee- 
ing it  down  upon  a clean  glass  plate ; and  from  the  back  by 
the  use  of  a good  blotting  paper. 

Drawing  the  tissue  over  glass  rods  must  only  be  resorted 
to  when  the  temperature  of  the  solution  is  low  (45^  F.)  in 
cold  weather. 

Slow  drying  in  a warm,  damp  atmosphere  is  also  a fre- 
quent cause  of  insolubility.  , The  air  should  be  kept  in  motion 
and  a medium  to  absorb  moisture  employed. 

Another  source  of  trouble  the  inexperienced  carbon 


The  Modern  Methods  op  Carbon  Printing. 


135 


printer  has  to  contend  with,  and  one  that  often  tries  his 
mettle,  is  the  reticulation  and  granulation  of  the  film,  and 
the  pest  of  blisters  or  tiny  little  air-bells  that  sometimes 
cover  the  entire  surface  of  the  picture,  both  single  and  double 
transfer. 

Reticulation  is  brought  on  through  various  causes.  Dry- 
ing the  tissue  too  rapidly  and  leaving  it  exposed  to  the  in- 
fluence of  foul  air  or  gases,  is  a common  cause.  Making 
the  transfer  in  water  of  an  unsuitably  high  temperature,  and 
not  allowing  the  tissue  and  support  to  remain  in  contact  long 
enough  before  development,  is  another. 

The  cause  of  the  most  frequent  occurrence  of  this  trou- 
ble, however,  is  found  in  the  sudden  changes  of  temperature 
that  take  place  in  the  water  of  the  developing  tank.  Always 
raising  or  lowering  the  temperature  gradually,  is  the  obvious 
remedy. 

To  avoid  reticulation  in  hot  weather,  do  not  forget  to 
add  lOO  grains  of  salicylic  acid  or  a few  drops  of  a ten  per 
cent  solution  of  bichloride  of  mercury  to  the  sensitizing  bath. 

When  used  at  a low  temperature,  and  the  tissue  is  dried 
out  quickly,  no  trouble  from  this  source  need  be  expected. 

Granulation  is  frequently  the  outcome  of  an  excessive 
or  careless  use  of  alkali  in  the  sensitizing  bath  or  developing 
tank. 

A very  strong  alum  bath  will  also  cause  a similar  trouble. 

Blisters  and  minute  little  air-bells  are  another  source  of 
annoyance  that  will  puzzle  the  novice  considerably  during 
his  first  attempts  at  carbon  printing. 

These  little  pests  appear  from  various  causes,  and  may 
easily  be  remedied.  Blisters  occur  most  frequently  on  single 
transfer  paper  and  are  caused  mostly  by  creasing  or  break- 
ing the  paper  through  careless  handling,  and  from  the  lack 
of  thoroughness  in  making  the  transfer.  If  sufficient  pres- 


136  The  Modern  Methods  of  Carbon  Printing. 

sure  is  not  applied  in  using  the  squeegee,  to  completely  ex- 
pel all  air  from  between  the  tissue  and  support,  a few  blis- 
ters may  always  be  expected.  A pin  carefully  introduced 
through  the  paper  at  the  back  is  the  only  remedy. 

In  trying  to  light  up  dark  parts  by  local  application  of 
very  hot  water,  is  another  source  of  blisters.  This  variety 
usually  ruins  the  picture  totally. 

In  the  greater  number  of  cases  the  cause  of  the  minute 
little  bubbles  or  air-bells  may  be  looked  for  at  the  beginning 
of  the  transfer. 

If  the  tissue  is  mountedaipon  the  support,  before  the  film 
has  had  time  to  absorb  sufficient  water  to  cause  it  to  lay  flat, 
it  will  keep  on  swelling,  and,  while  in  the  act  of  expand- 
ing it  will  absorb  the  water  from  the  paper  support,  which 
in  turn  is  replaced  by  air.  This  air,  drawn  into  the 
pores  of  the  paper,  lodges  close  up  to  the  film,  and 
when  the  tissue  is  placed  in  warm  or  hot  water  at  the  be- 
ginning of  the  development,  it  immediately  expands  in  ac- 
cordance with  the  temperature  of  the  water,  and  when  it  is 
removed  from  the  back  of  the  tissue  the  film  will  then  ap- 
pear covered  with  a froth.  This  froth  may  safely  be  at- 
tributed to  the  absorption  of  air  into  the  pores  of  the  paper 
during  the  expansion  of  the  gelatine  film,  and  is  the  direct 
cause  of  the  little  air-bells  that  cover  a part  or  the  entire 
surface  of  the  picture. 

To  radically  expel  the  air  from  the  pores  of  single  trans- 
fer paper,  place  it  in  clean,  cold  water  five  minutes  or  longer, 
and  then  lay  it  face  down  upon  a smooth,  clean  surface,  cover 
it  with  celluloid  or  rubber  cloth,  and  apply  the  squeegee  with 
considerable  pressure. 

Return  it  to  the  cold  water  tray  face  up  and  transfer  the 
tissue  to  its  surface.  A print  absolutely  free  from  .''ir-bells 
will  be  the  result. 


The  Modern  Methods  op  Carbon  Printing. 


1.37 


Still  another  cause  of  the  little  air-bells  is  the  presence 
of  air  in  the  pores  of  the  tissue,  which  has  been  left  adhering 
to  the  support  for  a considerable  length  of  time  before  de- 
velopment. 

When  tissue  in  this  condition  is  placed  into  the  develop- 
ing tank  the  hot  water  will  cause  the  air  to  expand  and  a 
lot  of  blisters  or  air  bubbles  is  the  result. 

A safe  and  easy  remedy  for  this  trouble  is  tO'  place  the 
tissue  into  a tray  of  cold  water  for  a few  minutes,  or  longer 
if  necessary  and  let  the  gelatine  swell  gradually,  which  will 
expel  the  air  and  the  trouble  will  be  avoided. 

Another  cause  that  will  produce  the  same  effect,  is  letting 
the  tissue  rise  above  the  surface  of  the  water  before  it  has 
been  freed  from  the  bichromate  and  superfluous  pigmented 
gelatine,  at  the  beginning  of  the  development.  It  must, 
therefore,  be  carefully  kept  under  the  surface  until  pretty 
well  developed,  when  it  may  be  taken  out  of  the  water  and 
the  small  rose  applied  for  local  development. 

When  developing  in  the  ordinary  way,  rock  the  tray  or 
agitate  the  water  in  some  way;  otherwise  the  picture  will 
be  covered  with  little  black  specks. 

It  often  happens  that  the  tissue  absorbs  water  more  rap- 
idly than  usual  and  before  the  transfer  can  be  effected  it  has 
absorbed  too  much. 

Whenever  this  happens  the  squeegee  must  be  vigorously 
applied  and  the  mounted  print  put  under  pressure  for  a 
longer  time  than  usual. 


138 


The  Modern  Methods  of  Carbon  Printing. 


chapter  IX. 


REDUCTION  OE  CARBON  PICTURES THE  AEUM  BATH CEEAR- 

ING  SOLUTIONS ElNISHING. 

TT  FREQUENTLY  happens,  that,  from  various  causes, 
and  more  especially  in  summer  time,  carbon  pictures  will 
remain  too  dark  in  spite  of  any  ordinary  remedy  that  may 
be  applied.  Such  pictures  may  be  redeemed  by  resorting  to 
any  of  the  following  methods : 

Carbon  Reducine,  is  a chemical  compound  now  in  com- 
mon use  in  every  carbon  printing  establishment,  and  can  be 
highly  recommended  as  a reducer  for  carbon  pictures ; if 
used  with  judgment  and  care,  its  action  is  mild  and  safe  and 
can  always  be  depended  upon,  no  matter  how  dark  the  pic- 
ture. The  action  may  be  stopped  at  a moment’s  notice  by 
simply  immersing  the  print  in  clean,  cold  water.  Make  up 
a ten  per  cent  solution,  and  dilute  it  according  to  the  action 
desired  and  filter.  Immerse  the  print  into  the  cold  solution 
until  the  proper  reduction  has  taken  place.  Let  the  action 
be  mild,  which  of  course,  takes  time  (several  hours)  and 
the  picture  will  clear  up  gradually  and  to  the  best  of  satis- 
faction. Wash  well  in  cold  water  and  dry  at  a moderate 
temperature.  If  a more  rapid  action  is  desired,  use  hot 
water  and  add  the  reducer,  a few  drops  at  a time,  until  the 
desired  reduction  has  taken  place ; then  wash  in  cold  water 
and  immerse  in  the  alum  bath. 

Another  good  reducer  for  carbon  pictures,  is  sulphocya- 
nide  of  ammonia,  but  it  is  considerably  more  expensive  than 
the  reducine  and  must  be  handled  with  care  on  account  of 
its  poisonous  nature.  Dissolve  one  ounce  of  sulphocyanide 


The  Modern  Methods  op  Carbon  Printing. 


139 


of  ammonia  in  lOO  oz.  of  pure  water  and  add  one  drop  of 
liquid  ammonia.  Immerse  the  print  and  rock  the  track  until 
it  is  sufficiently  reduced.  If  the  action  is  not  too  rapid,  the 
image  will  clear  up  nicely  without  shoA\dng  any  granularity 
or  in  any  way  effecting  the  quality  of  the  picture. 

Persulphate  of  ammonia  is  another  very  effective  remedy 
for  carbon  prints  that  remain  too  dark.  To  32  oz.  of  pure 
water  add  2 dr.  of  sulphuric  acid  c.  p.  To  this  add  125 
grains  of  persulphate  of  ammonia ; immerse  the  dark  print 
in  this  solution  for  a half  hour  and  then  proceed  with  the 
development  in  hot  water  as  before.  When  sufficiently  re- 
duced, treat  the  print  to  a 5 per  cent  solution  of  sulphate  of 
sodium  and  rinse  in  clear  water. 

Prof.  R.  Nemais  recommends  an  acid  permanganate  of 


potash  reducer : 

Permanganate  of  potash 0.5  gram 

Sulphuric  acid  C.  P i c.c. 

Water  1000  c.  c. 


Add  the  above  solution  a few  drops  at  a time  as  may  be 
required  to  the  developing  water,  and  observe  closely  the 
action  it  has  on  the  gelatine  film.  When  sufficiently  reduced, 
rinse  and  clear  the  stain  in  a i per  cent  solution  of  oxalic 
acid. 

Bicarbonate  of  soda  is  used  by  many  carbon  nrinters  to 
reduce  over-printed  carbon  pictures,  when  water  at  a high 
temperature  fails  to  have  the  desired  effect. 

Before  the  introduction  of  carbon  reducine,  a favorite 
reducing  agent  in  many  establishments,  was  chloride  of  lime. 
A little  of  a saturated  solution  added  to  the  developing  wa- 
ter will  usually  have  the  desired  effect.  Its  action  is  very 
mild  and  it  does  not  cause  softening  or  granularity  of  the 
film  like  some  of  the  other  chlorides. 

Use  at  a low  temperature  and  let  the  action  be  slow. 


140 


The  Modern  Methods  op  Carbon  Printing. 


THE  ALUM  BATH CLEARING  AND  FINISHING. 

When  the  development  of  a carbon  print  is  complete, 
immerse  it  in  cold  water  for  about  five  minutes,  and  then 
into  a solution  of  alum  and  sulphite  of  soda ; for  the  purpose 
of  hardening  the  film  and  removing  every  trace  of ‘yellow- 
ness caused  by  the  bichromate  still  remaining  in  the  film 
and  support,  which,  if  it  were  not  thoroughly  eliminated, 
would  be  a great  hindrance  to  the  permanence  of  the  picture. 

On  account  of  the  extreme  solubility  of  bichromate  salts 
in  a solution  of  sulphite  of  soda  and  common  alum,  a three 
or  four  per  cent  solution  is  usually  employed  by  most  carbon 
printers  for  this  purpose. 

Dissolve  three  ounces  of  common  potash  alum  (pow- 
dered) and  two  ounces  of  sulphite  of  soda  in  lOO  ounces  of 
soft  water,  and  filter  well.  If  hard  water  is  used,  add  a few 
drops  of  sulphuric  acid,  to  clear  the  solution  before  filtering. 
An  immersion  of  about  lo  minutes  will  be  sufficient  to  re- 
move all  traces  of  bichromate,  and  will  thoroughly  harden 
the  film.  Heavy,  rough  supports  require  double  the  time 
that  thin  ones  do ; and  heavily  coated  baryta  paper  requires 
at  least  an  hour  to  eliminate  all  traces  of  bichromate  in  the 
film. 

Adien  using  a plain  alum  bath  it  is  advisable  to  use  none 
but  fresh  solutions  for  each  batch  of  prints. 

A two  per  cent  chrome  alum  solution  may  be  substituted 
for  the  ordinary  potash  alum,  if  a thorough  induration  of  the 
film  is  desired.  This  bath  will  make  the  film  very  hard  and 
tough,  and  much  less  liable  to  injury  than  if  the  former  had 
been  used,  but  the  elimination  of  the  bichromate  is  not  af- 
fected and  the  cost  is  more  than  double;  besides  a strong 
solution  is  apt  to  stain  or  discolor  the  print. 

Sulphate  of  aluminum  is  also  employed  as  a substitute 


The  Modern  Methods  of  Carbon  Printing. 


141 


for  common  alum;  but  like  chrome  alum,  does  not  possess 
any  material  advantage  over  the  ordinary  alum  bath  for 
hardening  carbon  prints. 

The  following  makes  a fine  bath  for  pictures  to  be  dried 
out  quickly  by  heat  or  in  the  sun  : 

Powdered  alum  6 ounces 

Sulphite  of  soda  3 ounces 

Glycerine  2 drams 

Water  (soft)  64  ounces 

This  bath  has  good  keeping  qualities  and  works  well  un- 
til exhausted.  Filter  well  through  cotton  before  using. 

Carbon  pictures  upon  paper  hardened  in  this  bath,  may 
be  handled  like  albumen  prints  after  once  dry.  They  may  be 
re-wetted  and  stacked  up  for  mounting  without  the  least  fear 
of  injury. 

When  taken  from  the  alum  bath,  the  pictures  are  rinsed 
in  cold  water  for  about  twenty  minutes.  This  may  be  done 
in  an  ordinary  tray,  (unless  there  are  a good  many,)  when 
it  is  best  to  suspend  them  in  a vertical  tank  or  bath,  such  as 
are  used  for  negative  fixing,  or  the  vertical  bath  used  for 
development.  The  water  for  this  purpose  ought  to  pass 
through  a filter  to  remove  all  traces  of  sediment. 

When  well  washed,  suspend  the  pictures  in  a room  per- 
fectly free  from  dust,  and  allow  a mild  current  of  air  to  pass 
through  the  room.  In  this  way  they  will  dry  out  in  a very 
short  time,  and  are  then  ready  to  be  mounted. 

Carbon  prints  cleared  in  a plain  alum  solution  may  be 
dried  out  quickly,  if  desired,  by  soaking  them  in  a bath  of 
alcohol  for  a few  minutes,  and  then  suspending  them  in  the 
drying  apparatus,  subject  to  a smart  current  of  air. 

Prints  on  celluloid  should  never  be  treated  to  alcohol, 
unless  the  bichromate  has  been  thoroughly  eliminated  from 
the  film.  If  such  is  not  the  case  a greenish  yellow  stain  will 
be  the  result.  Ordinary  95  per  cent  alcohol  must  be  used  for 


142  The  Modern  Methods  of  Carbon  Printing. 

this  purpose.  Wood  alcohol  or  Columbian  spirit,  will  dis- 
solve the  celluloid. 

Clearing  Solution. — Some  pigments  are  considerably  af- 
fected with  the  bichromate  and  retain  a yellowness  that  often 
proves  fatal  to  the  picture  in  the  end.  The  bichromate  af- 
fects the  pigment  picture  in  the  same  manner  as  hypo  does 
the  silver  print ; it  does  not  only  spoil  the  tone  or  color,  but 
will  eventually  ruin  the  entire  picture. 

To  eliminate  all  traces  of  .yellowness  and  restore  the  pur- 
ity of  tone  or  color,  as  well  as  the  absolute  permanency  of 
the  picture,  it  must  be  treated  to  a bath  of  clearing  solution. 
Make  up  a 5 per  cent  solution  of  antichrome  and  use  it  at 
about  60”  F.  in  winter  and  below  in  summer. 

Rinse  the  prints  in  several  changes  of  clean,  cold  water, 
after  passing  through  the  clearing  bath. 

Finishing. — It  is  very  important  that  both  the  film  and 
glass  side  of  the  negative  should  be  kept  perfectly  clean  dur- 
ing printing  operations,  to  avoid  blemishes  caused  by  dust 
or  dirt.  The  retouching  or  spotting-out,  may  be  done  with 
any  good  spotting  colors,  but  the  best  and  most  satisfactory 
results  are  obtained  by  softening  a piece  of  unsensitized  tis- 
sue of  the  same  color  as  the  print,  in  warm  water,  and  to  use 
the  color  for  spotting.  Specks  and  dark  spots  are  cleared  up 
with  an  etching  tool,  rubber  erasers,  etc. 


The  Modern  Methods  of  Carbon  Printing. 


14.3 


chapter  X. 


the;  double;  transe'e;r  proce;ss. 

''  I ’'HE  USE  of  the  modern  stripping  plate  and  the  many 
easy  and  reliable  methods  for  reversing  the  negative 
film  of  ordinary  dry  plates,  has  brought  this,  once  the  only 
practical  method  of  carbon  printing,  almost  entirely  into 
disuse — at  least  with  all  the  up-to-date  carbon  printers. 

Of  course,  when  it  comes  to  making  pictures  upon  un- 
even surfaces,  or  supports  that  are  affected  with  the  bichro- 
mate, the  double  transfer  process  is  indispensable. 

The  pictures  for  this  method  are  printed  from  ordinary 
non-reversed  negatives  to  make  them  appear  right  when  fin- 
ished. 

For  pictures  upon  uneven  or  rigid  surfaces,  the  prints  are 
transferred  and  developed  upon  flexible  temporary  supports 
of  paper;  otherwise  opal  or  plain  glass  may  be  used,  ac- 
cording to  the  kind  of  surface  the  resulting  picture  is  to 
have. 

The  flexible  temporary  support,  is  simply  a good,  tough 
paper,  coated  with  a gelatine  and  shellac  solution  made  after 


the  following  formula : 

A.  — White  shellac 30  grams 

Alcohol  100  c.  c.  m. 

Dissolve  and  filter  through  paper. 

B.  — Gelatine  (hard)  30  grams 

Water  500  c.  c.  m. 

Glycerine  5 c.  c.  m. 

Chrome  alum  i c.  c.  m. 


Soak  the  gelatine  for  an  hour  and  dissolve  in  a hot  water 
bath.  Add  this  to  solution  A.  a little  at  a time  and  stir  well 


144 


The  Modern  Methods  op  Carbon  Printing. 


at  each  addition.  Then  add  the  glycerine,  and  dissolve  the 
chrome  alum  in  a little  hot  water  and  after  adding  it,  give 
the  compound  a thorough  shaking  up.  Coat  the  paper  with 
this  milky  solution,  using  a soft  sponge  or  flat  camel’s  hair 
brush.  Hang  the  paper  upon  a line  and  when  it  is  thor- 
oughly dry,  wax  it,  and  it  is  ready  for  use. 

The  flexible  temporary  support,  furnished  by  the  makers 
of  carbon  tissue  is  especially  prepared  for  the  purpose  and 
can  be  had  in  sheets  of  18x22  or  larger.  If  this  paper  sup- 
port is  properly  taken  care  of,  it  can  be  used  indeflnitely. 

Wax  with  the-  following  solution  : 

Pure  wax  40  grains 

Resin  24  grains 

Benzole  10  ounces 

Fasten  the  support  onto  a smooth  surface  with  thumb 
tacks,  and  rub  the  solution  over  the  surface  with  a clean 
flannel  tuft.  Allow  the  solvent  to  evaporate,  which  requires 
about  ten  minutes,  at  an  ordinary  temperature.  Then  polish 
with  a clean,  dry  flannel,  using  a light,  circular  motion,  to 
insure  a smooth,  even  surface,  and  it  is  ready  for  use;  but 
works  best  when  a day  old. 

Before  making  the  transfer,  immerse  this  support  face 
up  in  clean,  cold  water,  and  let  it  remain  until  the  water  flows 
smoothly  over  the  waxed  surface.  Then  immerse  the  car- 
bon tissue  into  the  same  tray,  and  proceed  exactly  in  the  same 
manner  as  when  making  a transfer  for  development  by  the 
single  transfer  process. 

Do  not  forget  to  remove  the  superfluous  moisture  around 
the  edge  of  the  tissue  after  each  transfer,  and  allow  at  least 
fifteen  minutes  to  elapse  before  development.  If  more  time 
is  likely  to  pass  than  fifteen  or  twenty  minutes  before  devel- 
opment, lay  one  print  over  the  other,  and  cover  with  a glass. 


The  Modern  Methods  op  Carbon  Printing. 


145 


(weighted  down,)  to  keep  them  moist,  or  immerse  them  in 
cold  water  until  ready  to  develop. 


POLISHING  BOARD. 
WAXING  SOLUTIONS. 


The  following  waxing  solutions  are  used  on  plain  or 
opal  glass,  and  zinc  plates,  that  serve  the  purpose  of  tempo- 
rary supports  for  developing  pictures  by  the  double  transfer 
process. 

Through  the  agency  of  this  medium  the  pictures  are 
readily  transferred  from  the  temporary  to  the  final  support, 
which  again  reverses  the  image  and  brings  the  picture  into 
its  correct  position. 

There  are  a number  of  good  formulas  in  use  of  which 


the  following  are  the  best : 

No.  I.  Pure  Beeswax  120  grains 

Dammar  varnish  25  grains 

Pure  benzine  25  ounces 


Pour  the  benzine  into  a clean,  dry  bottle,  and  then  dis- 
solve the  wax  and  add  a little  at  a time  and  shake  well ; then 
add  the  Dammar  and  shake  until  thoroughly  mixed.  When 
dissolved  let  stand  until  well  settled,  and  decant  the  clear 


liquid  for  use. 

No.  2.  Beeswax  75  grains 

Resin  35  grains 

Benzole  (pure)  10  ounces 

Turpentine  8 ounces 


146 


The  Modern  Methods  op  Carbon  Printing. 


Dissolve  the  wax  in  the  benzole,  and  the  resin  in  the  tur- 
pentine and  mix  the  two  solutions  thoroughly  and  let  stand 
until  clear. 

The  above  solutions  are  applied  to  the  surface  of  the  sup- 
port as  evenly  as  possible  with  a flannel  tuft,  using  slight 
pressure.  When  applied  to  ground  glass  or  matt  opal,  noth- 
ing further  need  be  done.  A smooth  surface,  however,  must 
be  polished  as  soon  as  the  solvents  have  evaporated.  Polish 
with  a clean,  dry  flannel,  using  a circular  motion  with  a light 
pressure.  Care  must  be  exercised  not  to  carry  on  the  polish- 
ing to  an  extent  that  would  remove  too'  much  of  the  wax. 
Plates  treated  in  this  manner  will  work  best  when  12  hours 
or  a day  old. 

A rapid  drying  solution  may  be  prepared  as  follows  : 


Pure  beeswax  40  grains 

Ether  6 ounces 

Alcohol  95  per  cent 2 ounces 


Plates  treated  with  this  solution  may  be  used  a few  min- 
utes after  its  application. 

To  further  improve  the  waxed  surface  of  the  support  so 
that  it  will  render  the  best  results  possible,  immerse  the 
waxed  plates  into  a six  per  cent  solution  of  a well  Altered 
chrome  alum,  for  about  five  minutes,  after  which  the  plates 
must  be  well  rinsed  in  clean  water  and  dried.  This  treat- 
ment will  cause  a better  contact  and  will  hold  most  perfectly 
all  the  fine  details  of  the  picture,,  which  it  renders  in  a most 
perfect  manner  when  transferred  to  the  final  support. 


The  Modern  Methods  op  Carbon  Printing. 


147 


chapter  XI. 


OPAIv  AND  GROUND  GDASS  AS  TeIMPORARY  SUPPORT. 


^OR  pictures  i n 
the  now  prevail- 
ing style  of  matt  fin- 
ish, it  is  necessary  to 
employ  a support 
having  a matt  sur- 
face, such  as  opal  or 
ground  glass. 

The  opal  is  pref- 
erable to  ground 
glass  on  account  of 
its  white  surface, 
which  makes  it  possible  to  better  observe  the  progress  of 
the  development ; which  is  a great  advantage,  especially  for 
beginners. 


DRYING  RACK  FOR 


The  ground  surface  of  the  glass  must  be  made  perfectly  ' 
clean,  in  a solution  of  potash,  and  well  rinsed  in  soft  water. 

When  perfectly  dry  apply  the  waxing  solution  given  in  a 
previous  chapter.  This  should  be  done  in  a room  perfectly 
free  from  dust,  and  a medium  temperature. 

Cover  the  surface  as  evenly  as  possible  and  polish  in  the 
usual  way;  then  immerse  the  plate  in  the  alum  solution  as 
previously  directed. 

The  most  exquisite  matt  surface  is  produced  upon  collo- 
dionized  opal  glass.  Dust  the  perfectly  clean  surface  of  the 
plate  with  talc  or  French  chalk  and  rub  it  well  with  a flannel 
rag;  then  brush  off  the  superfluous  chalk  with  a camel’s 


148  The  Modern  Methods  op  Carbon  Printing. 

hair  duster.  Coat  the  plates  with  a good  transfer  collodion, 
and  when  set,  immerse  in  clean,  cold  water  and  let  remain 
until  required  for  use.  Just  before  making  the  transfer 
rinse  in  filtered  water  until  it  flows  smoothly  over  the  collo- 
dion surface. 

The  transfer  is  made  in  the  usual  way,  by  immersing  the 
tissue  in  the  same  tray,  with  the  opal  glass,  and  bringing  the 
waxed  surface  and  film  in  contact  under  water  to  avoid  im- 
prisoning air  between  film  and  support. 

Then  withdraw  the  support  and  adhering  tissue  carefully 
from  the  water  and  place  it  upon  a level  stand  or  table ; then 
cover  it  with  the  rubber  cloth  or  celluloid  and  squeegee,  first 
gently,  to  remove  the  water,  and  then  quite  vigorously,  to 
bring  support  and  film  into  intimate  contact. 

Place  one  plate  over  the  other  and  let  them  rest  for  at 
least  twenty  minutes  or  half  hour  before  development  is  com- 
menced. 

Instead  of  flowing  the  plates  with  collodion,  they  may 
be  coated  with  gelatine  or  albumen.  The  latter  will  hold  all 
the  fine  details  of  the  negative  in  a most  perfect  manner  and 
is  especially  suited  for  carbon  vignettes. 


Albumen  (fresh  egg) iV2  ounce 

Water  12  ounces 

Alkaline  bichromate  (3  per  cent  solution) ...  .2  ounces 


Give  the  solution  a thorough  shaking  up  and  filter 
through  cotton.  If  let  stand  for  a few  days  and  then  well 
filtered,  it  will  flow  over  the  talced  surface  of  the  plate  as 
evenly  and  smooth  as  collodion. 

Plates  coated  with  this  substratum  may  be  dried  by  gentle 
heat,  and  are  then  exposed  to  good,  strong  daylight  to 
harden  the  film. 

Before  transferring  the  exposed  tissue  wet  the  surface 


The  Modern  Methods  of  Carbon  Printing. 


149 


well  or  immerse  for  a few  minutes  in  a tray  of  clean,  cold 
water. 

For  a gelatine  substratum,  dissolve  one  ounce  of  good, 
hard  gelatine  in  i6  ounces  of  water  and  add  enough  alka- 
line bichromate  solution  to  give  it  a strong  yellow  color. 
Flow  the  talced  plates  in  the  usual  way  and  when  dry  expose 
to  light  to  harden  the  film  the  same  as  the  albumen  plates. 


150 


The  Modern  Methods  op  Carbon  Printing. 


CHAPTER  XII. 


DOUBLE  transeer  From  polished  glass  for  pictures  hav- 
ing A brilliant  surface. 

'p\OUBLE  transfer  carbons  with  a brilliant  glass-like  en- 
amel,  are  probably  the  most  beautiful  of  all  the  double 
transfer  pictures  made ; but,  on  account  of  the  many  failures 
in  their  production,  they  are  likewise  classed  as  being  the 
most  difficult  to  make  of  all  the  pictures  produced  by  this 
process. 

The  most  serious  difficulties  encountered,  usually  arise  in 
making  the  transfers ; either  when  mounting  the  tissue  upon 
the  temporary  support,  or,  when  transferring  the  developed 
print  to  its  final  support. 

The  most  perplexing  difficulty,  especially  with  the  be- 
ginner, arises  while  making  the  first  transfer ; and 
is  usually  caused  by  allowing  air  to  become  imprisoned  be- 
tween the  support  and  tissue,  which  gives  rise  to  countless 
little  shiny  specks,  and  may  be  attributed  to  lack  of  thor- 
oughness in  applying  the  squeegee. 

There  are  two  different  methods  in  use  to  prepare  the 
plates  for  this  process  of  development.  One  is  called  the  dry, 
and  the  other  the  wet  process.  The  dry  process,  although  it 
take  a little  more  time  and  entails  a few  more  manipulations, 
IS  probably  the  least  difficult  to  master,  and  for  beginners,  as 
well  as  for  ordinary  studio  work,  is  undoubtedly  the  best  and 
most  practical  method  of  the  two. 

After  the  plates  have  been  waxed  according  to  the  direc- 
tions given,  moisten  a tuft  of  filtering  cotton  in  benzine  or 
alcohol,  and  wipe  away  an  eighth  or  a quarter  of  an  inch  of 


The  Modern  Methods  of  Carbon'  Printing. 


151 


the  wax  around  the  edge  of  the  plate;  then  with  a small 
camel’s  hair  brush  give  it  an  edge  of  the  following  insoluble 


substratum. 

Gelatine  (hard)  i ounce 

Water  i6  ounces 

Salicylate  of  soda  i dram 

Formalin  i dram 


Soak  the  gelatine  in  the  water  for  an  hour ; then  add  the 
salicylate  of  soda,  and  dissolve  in  a water  bath,  by  gentle 
heat.  Add  the  formalin,  and  filter  through  muslin. 

This  solution  remains  liquid,  and  will  keep  indefinitely,  if 
properly  taken  care  of. 

An  edge  composed  of  this  mixture  will  become  perfectly 
insoluble  when  dry,  and  will  hold  the  collodion  film  firmly 
to  the  plate  during  the  developing  manipulations,  which  oth- 
erwise would  be  inclined  to  leave  the  glass,  which  would 
mean  ruination  to  the  picture.  As  soon  as  the  edge  is  dry, 
the  plates  are  ready  to  be  coated  with  the  collodion. 

The  waxed  plates  must  be  perfectly  free  from  dust,  and 
contain  no  moisture. 

The  room  used  for  coating  should  be  dry  and  have  a 
temperature  not  above  65*^  or  70°  F. 

Coating  plates  with  enamel  collodion  is  done  in  exactly 
the  same  manner  as  flowing  a plate  with  varnish  or  similar 
solutions;  by  balancing  the  small  plates  on  the  hand  and 
the  large  ones  on  some  piA^'oted  arrangement,  which  may  be 
constructed  to  suit  the  convenience  of  the  operator. 

When  the  collodion  has  set,  the  plates  may  be  placed  on 
a rack  in  a room  having  a higher  temperature,  and  allowed 
to  dry. 

Before  the  plates  are  ready  to  receive  the  exposed  car- 
bon tissue,  they  are  given  a substratum,  for  the  purpose  of 
making  the  carbon  film  firmly  adhere  to  the  dry  collodion. 


152 


The  Modern  Methods  of  Carbon  Printing. 


Soak  and  dissolve  in  the  usual  Avay,  i oz.  hard  gelatine 
in  i6  oz.  of  water;  then  add  25  grains  of  chrome  alum  dis- 
solved in  2 oz.  of  hot  water.  Add  the  alum  gradually  and 
shake  or  stir  well;  should  the  solution  become  ropy,  add  a 
few  drops  of  acetic  acid  to  restore  fluidity.  Filter  and  apply 
with  a brush  or  soft  sponge.  Should  any  air-bells  arise  take 
a strip  of  tissue  paper  and  pass  it  over  the  surface,  which 
will  either  break  or  bring  them  to  one  side. 

Another  splendid  substratum  is  made  of  the  following: 
Pure  rubber,  i dram;  pure  benzine,  i pint.  Filter  before 
use,  and  flow  over  the  .plate  like  vaniish. 

To  prepare  the  plates  with  this  substratum,  may  seem 
somewhat  lengthy  and  tedious ; but  in  reality  it  does  not 
take  as  much  time,  providing  everything  is  conveniently  ar- 
ranged to  do  the  work  as  it  does  to  give  a clear  description 
of  the  process. 

Plates  prepared  in  this  manner  are  easily  handled,  hold 
the  film  well  during  development,  and  may  be  prepared  and 
kept  in  stock  ready  for  use. 

The  following  is  another  very  simple  and  easy  method  of 
making  double  transfers.  Perfectly  clean  glass  or  opal 
plates  are  well  rubbed  over  with  talc  or  French  chalk,  and 
then  given  an  edge  of  insoluble  gelatin  (first  wipe  away  an 
edge  as  above  with  alcohol)  and  then  coated  with  the  fol- 
lowing insoluble  gelatin  substratum. 

Gelatine  (hard)  2 drams;  water,  16  ounces;  soak  for  an 
hour  and  dissolve  by  gentle  heat,  then  add  enough  of  the 
alkalin  bichromate  bath  to  give  it  a nice  sherry  color.  Filter, 
and  flow  the  prepared  plates  with  this  solution ; drain  off 
the  surplus  and  place  on  a level  stand  until  the  gelatine  has 
set;  when  dry  expose  them  to  a strong  light  for  5 or  10 
minutes  to  render  the  film  insoluble  and  the  plates  are  ready 
for  use.  Instead  of  talc,  waxing  solution  may  be  used,  if 


The  Modern  Methods  op  Carbon  Printing. 


153 


preferable.  This  makes  a most  perfect  substratum,  and  is 
cheap,  besides  giving  the  very  best  results. 

It  is  a well  known  fact  that  an  insoluble  gelatine  substra- 
tum holds  the  details  better  than  any  other  surface,  and  if 
the  waxed  surface  of  the  temporary  support  has  been  treated 
to  a 5 per  cent  solution  of  chrome  alum,  the  final  transfer 
will  take  place  with  ease  and  dispatch. 


154 


The  Modern  Methods  of  Carbon  Printing. 


CHAPTER  XIII. 


Transfer  to  dry  coelodion  plates. 

/^RDINARY  glass  plates  coated  with  a 2 per  cent  collo- 
dion  and  dried,  will  give  fine  results  and  do  not  re- 
c[uire  the  careful  handling  of  a collodion  film  in  a moist  state. 
Just  before  making  the  transfer,  immerse  the  plates  in  clean, 
cold  water  for  at  least  ten  minutes,  to  allow  the  film  to  ab- 
sorb enough  water  to  make  it  pliable.  In  making  the  trans- 
fer, the  tissue  is  allowed  to  swell  in  cold  water  (50°  F.)  as 
usual,  and  when  it  flattens  out  take  a plate  and  slip  it,  film 
side  up,  under  the  tissue,  and  bringing  it  in  contact  there- 
with, carefully  lift  it  out  of  the  water  and  place  it  upon  the 
squeegee  board.  A thorough  application  of  the  squeegee 
is  necessary  to  expel  all  the  water  and  air  from  between 
the  collodion  and  gelatine  films  and  to  form  an  absolute  con- 
tact, otherwise  the  picture  will  be  marred  by  the  presence  of 
little  shiny  specks  on  the  face  of  the  picture,  which,  being 
beneath  the  collodion  film,  cannot  be  removed. 

Carefully  dry  the  back  of  the  tissue,  especially  around 
the  margin,  with  a soft  towel,  sponge,  or  blotting  paper; 
also  the  glass  side  of  the  plate,  and  place  between  clean,  dry 
blotters,  one  over  the  other,  until  they  are  ready  for  devel- 
opment. Allow  the  transfer  to  rest  at  least  twenty  minutes, 
or  longer  will  do  no  harm,  providing  it  is  kept  moist  and 
cool,  or  has  been  placed  in  cold  water. 

The  developing  manipulations  are  exactly  the  same  as 
those  given  for  single  transfer  pictures  on  opal  glass  or 
porcelain.  The  carbon  film  adheres  well  to  a collodion  sur- 


The  Modern  Methods  of  Carbon  Printing. 


155 


face  prepared  in  this  manner,  develops  quickly  and  with  less 
trouble  than  any  other  support  of  similar  nature. 

If  the  tissue  was  in  fairly  good  condition  and  the  ex- 
posure approximately  correct,  the  pictures  will  develop  with- 
out the  least  difficulty,  showing  all  the  finest  details  in  the 
lights,  with  transparent,  velvety  shadows. 

But,  should  the  tissue  be  old  and  partly  insoluble,  or 
probably  the  exposure  a little  too  prolonged,  the  development 
will  then  proceed  with  difficulty,  and  the  pictures  will  appear 
dark,  with  veiled  lights  and  heavily  loaded  shadows. 

On  the  other  hand,  should  the  exposure  prove  insufficient 
to  produce  a good,  strong  print,  especially  when  the  tissue 
is  known  to  be  in  good  condition  and  probably  a little  fresh, 
the  development  must  take  place  with  great  care,  or  else  the 
pigmented  gelatine  will  dissolve  away  too  quickly  and  leave 
a chalky  black  and  white  picture,  devoid  of  all  half-tones 
and  with  ver}^  abrupt  shadows.  It  will  thus  plainly  be  seen 
that  the  greater  part  of  success  in  carbon  printing,  depends 
upon  the  care  exercised  in  exposing  the  tissue  to  light  un- 
der the  negative.  With  a good  tissue  a proper  exposure  will 
always  give  successful  results. 

There  is  aconsiderable  latitude  in  developing  carbon  pic- 
tures, which  a printer,  having  a little  skill  and  judgment  can 
easily  take  advantage  of. 

By  increasing  or  modifying  the  temperature  of  the  de- 
veloping bath,  an  over,  or  under  exposed  tissue  can  easily 
be  developed  with  good  results. 

Or,  if  that  does  not  produce  the  desired  results,  an  addi- 
tion of  a little  saturated  solution  of  chloride  of  lime,  in  case 
of  over-exposure,  will  probably  have  the  desired  effect. 
Should  that  fail,  however,  use  carbon  reducine,  which,  if 
used  with  good  judgment,  will  clear  the  darkest  print.  From 
the  above  it  will  be  seen  that  a successful  development  of 


156 


The  Modern  Methods  op  Carbon  Printing. 


carbon  pictures  depends  greatly  upon  the  state  of  solubility 
the  tissue  happens  to  be  in  at  the  time  of  exposure  and  the 
time  allowed  to  elapse  before  development  takes  place. 

As  soon  as  the  pictures  have  passed  through  the  alum 
or  hardening  solution,  and  have  been  well  washed  in  several 
changes  of  cold  water  they  are  ready  to  be  transferred  to 
the  final  support,  which  may  take  place  at  once  if  so  desired ; 
but,  it  is  not  advisable,  since  the  pictures  will  be  greatly  im- 
proved by  allowing  them  to  become  thoroughly  dry  before 
making  the  transfer. 

The  image  will  be  much  shaiper  and  will  have  gained 
considerably  for  the  better  in  appearance.  At  the  same  time 
the  pictures  are  less  liable  to  prove  a failure  than  if  trans- 
ferred while  in  a wet  state. 

Carbon  pictures  usully  dry  down  a little  darker  than  they 
appear  while  in  a wet  state.  A slight  allowance  should 
therefore  be  made  on  that  account,  while  printing  the  tissue 
as  well  as  in  the  development. 


The  Modern  Methods  op  Carbon  Printing. 


157 


CHAPTER  XIV. 


THE  WET  PROCESS. 

nr'  HE  following  method  is  used  by  most  carbon  printers 
of  the  old  school ; and  is,  probably,  as  reliable  as 
any,  but  is  just  a little  more  complicated;  it  requires  great 
care  in  all  the  manipulations,  to  obtain  successful  results. 

The  polished  glass  or  opal  plates  are  cleaned  and  waxed 
in  the  usual  way;  but  do  not  need  an  insoluble  edge,  like 
those  prepared  for  the  previous  method. 

Coat  the  plates  with  plain  collodion. 

Alcohol  8 ounces 

Ether  8 ounces 

Gun  cotton  130  grains 

Soak  the  cotton  in  the  alcohol  for  den  minutes  previous 
to  adding  the  ether.  Add  the  ether  and  shake  until  dissolved. 
For  immediate  use,  the  collodion  must  be  filtered,  otherwise, 
allow  it  to  settle  and  decant  the  clear  liquid  for  use. 

Before  coating,  remove  every  particle  of  dust  from  the 
surface  of  the  plates  with  a good  camel’s  hair  brush,  and 
coat  them  in  the  usual  way.  Pour  the  collodion  on,  in  one 
steady  stream,  but  not  all  onto  one  spot.  The  ether  in  the 
collodion  would  dissolve  away  the  wax,  and  the  collodion 
film  would  become  firmly  attached  to  the  glass  when  dry, 
and  thus  make  it  very  difficult,  if  not  impossible,  to  make 
the  final  transfer;  therefore,  in  pouring  on  the  collodion, 
hold  the  bottle  near  to  the  plate  and  pour  it  in  a semi-circle. 

When  the  collodion  has  set,  which  will  take  but  a minute 
or  two,  according  to  temperature,  immerse  the  plates  in  a 
tray  or  tank  of  clean,  filtered  water  at  about  50°  F.,  and  let 


158 


The  Modern  Methods  op  Carbon  Printing. 


it  remain  for  at  least  fifteen  or  twenty  minutes.  This  is  done 
to  free  the  film  of  the  solvents  contained  in  the  collodion, 
and  to  keep  it  in  an  unchanged  or  moist  condition.  When 
there  are  a number  of  plates  to  prepare,  a grooved  vertical 
tank  such  as  the  rubber  hypo-bath  holders,  or  a reservoir 
made  after  that  fashion  (figure  31)  will  be  found  handy 
and  convenient. 

Before  making  the  transfer,  rinse  the  plates  in  well-fil- 
tered, cold  water,  to  remove  all  traces  of  alcohol,  and  what 
sediment  might  have  collected  on  the  surface  of  the  film. 

Transferring  or  mounting  the  tissue  for  development 

Arrange  the  tanks  or  trays  in  convenient  order  and  fill 
the  first  one  with  cold  water  at  a temperature  not  above  60° 
F.,  and  in  summer  the  results  will  be  much  better  if  it  is  still 
lower.  This  can  easily  be  done  by  using  ice. 

Then  pull  down  the  yellow  curtain  or  subdue  the  light, 
and  taking  the  tissue  from  the  box,  brush  it  on  both  sides 
with  a camel’s  hair  duster,  to  remove  every  particle  of  dust 
adhering  thereto. 

Now  immerse  it  face  down,  with  as  little  splash  as  pos- 
sible, and  quickly  remove  all  the  air-bells  and  froth  which 
gathers  on  the  back  of  the  paper,  with  a large,  flat  camel’s 
hair  brush  or  soft  sponge.  Then  turn  it  over  carefully,  keep- 
ing it  under  water,  and  gently  pass  the  brush  over  the  face 
of  the  film,  and  again  turn  it  face  down,  always  keeping  it 
under  water  while  turning.  Just  before  it  begins  to  straighten 
out,  take  a plate  from  the  reservoir  and  after  dashing  some 
filtered  water  over  it  to  remove  all  traces  of  alcohol,  lay  it 
face  up  in  a convenient  position  upon  the  table,  or  squeegee 
board,  then  before  the  tissue  has  a chance  to  trim  backward, 
remove  it  from  the  water;  by  taking  hold  of  the  corners 
diagonally  opposite,  bend  it  so  as  to  allow  the  diagonal  line 


The  Modern  Methods  op  Carbon  Printing. 


J59 


to  touch  first,  and  without  draining,  carefully  place  it  upon 
the  collodion  film  as  near  in  the  right  position  as  possible. 

Should  the  tissue  attach  itself  firmly  to  the  collodjon 
film  before  it  has  its  proper  position  on  the  plate  the  best 
way  to  proceed  then,  is  to  again  immerse  it  in  the  water  and 
carefully  lift  it  from  the  plate.  Then  again  place  it  upon 
the  collodion  film,  as  near  the  correct  position  as  possible. 

After  the  tissue  once  lies  flat,  it  firmly  adheres  to  the 
collodion  film,  and  it  is  not  very  safe  to  pull  or  drag  it  into 
position.  The  collodion  film  being  very  tender,  it  is  easily 
ruptured.  Lifting  it  off  and  replacing  it  is  the  quickest  and 
safest  way  to  proceed.  Care  should  also  be  taken  not  to  in- 
jure the  collodion  film  that  protrudes  around  the  margin  of 
the  tissue,  and  extends  to  the  edge  of  the  plate. 

This  can  best  be  done  by  using  a well  waxed  sheet  of 
thin  celluloid  instead  of  a rubber  cloth  when  squeegeeing  the 
tissue  to  the  plate.  The  celluloid  lies  smoothly  over  the 
back  of  the  tissue  and  is  not  liable  to  be  dragged  into  ridges 
or  creased  by  the  squeegee.  Be  very  careful  at  the  begin- 
ning; stroke  gently  from  center  to  sides,  and  when  the 
water  and  air  has  been  well  expelled  use  a little  more  pres- 
sure and  give  it  a good,  careful  rounding  up.  When,  on 
removing  the  celluloid,  there  are  no  ridges  or  raised  places 
visible,  which  would  indicate  the  presence  of  air  between  the 
tissue  and  collodion  film,  the  transfer  may  be  considered 
successfully  done. 

Be  sure  to  remove  all  superfluous  moisture  around  the 
edges  of  the  tissue,  or  else  it  will  have  a tendency  to  wash 
up  or  frill,  and  will  not  adhere  properly  during  development. 
Cover  the  mounted  tissue  with  a clean,  dry  blotter,  and  over 
it  place  a sheet  of  glass  to  keep  it  pressed  down  until  an- 
other transfer  has  been  made.  This  done,  remove  the  sheet 
of  glass  and  place  this  over  the  other  (providing  it  is  of  the 


160  The  Modern  Methods  of  Carbon  Printing. 

same  size)  and  proceed  in  like  manner  until  all  the  exposed 
tissue  has  been  transferred.  As  soon  as  the  first  transfer 
has  been  under  pressure  for  about  twenty  minutes  or  a half 
hour,  the  developing  operations  may  be  commenced  by  plac- 
ing the  plates  and  transferred  prints  in  cold  water. 

The  development  proper  is  carried  on  in  exactly  the  same 
manner  as  in  the  single  transfer  process,  with  the  exception 
that  it  requires  greater  care  in  the  developing  manipulations 
to  keep  from  rupturing  the  collodion  film.  The  image  clears 
up  very  rapidly  and  is  much  easier  developed  than  a single 
transfer  picture.  If  the  film  on  the  first  plate  shows  any 
tendency  of  washing  up  at  the  edges  or  leaving  the  plate, 
allow  the  rest  to  remain  under  pressure  for  at  least  an  hour, 
and  if  necessary,  still  longer  will  do  not  harm,  providing  the 
back  of  the  tissue  is  covered  and  kept  moist  and  cool. 

The  meaning  of  weighting  down  or  using  pressure 
should  not  be  misunderstood.  All  the  weight  or  pressure 
necessary  is  just  enough  to  keep  the  edges  of  the  tissue  from 
curling  back  or  a medium  pressure.  Heavy  pressure  causes 
dark  spots,  patchy  prints,  and  an  uneven  development;  and 
is  otherwise  injurious.  When  developed,  the  pictures  are 
rinsed  in  clean,  cold  water,  and  placed  into  the  alum  bath 
for  about  five  minutes.  Wash  well  in  clean  water  for  twenty 
minutes  or  half  hour,  then  take  a tuft  of  filtering  cotton  or 
a soft  brush  and  under  a tap  of  filtered  water  carefully  re- 
move all  the  sediment  and  place  on  a rack  to  dry. 


The  Modern  Methods  op  Carbon  Printing. 


161 


CHAPTER  XV. 


the;  final  transfe;r  from  a flexible  support. 

T T IS  not  usually  customary  to  transfer  carbon  or  pigment 

pictures  to  their  final  supports  before  they  have  first  be- 
come thoroughly  dry.  But,  if  desired,  the  final  transfer  may 
take  place  at  once;  after  the  prints  have  been  well  rinsed 
in  clear,  cold  water  and  the  last  traces  of  bichromate  as  well 
as  alum  eliminated.  The  only  advantage  gained  in  making 
an  immediate  transfer,  however,  is  merely  a saving  of  time ; 
otherwise  the  pictures  are  greatly  improved  by  allowing 
them  to  dry  before  being  transferred. 

In  drying,  the  print  looses  its  relief,  and  at  the  same  time 
the  film  goes  over  into  a state  of  total  insolubility,  thus  mak- 
ing the  picture  sharp  and  crisp,  and  otherwise  greatly  im- 
proving its  appearance. 

Another  advantage  in  allowing  the  print  to  become  dry 
upon  the  transitory  support  is,  that  the  film  being  in  a hard- 
ened state,  it  is  less  liable  to  be  injured  during  the  transfer 
manipulations,  and  consequently  gives  uniformly  good  re- 
sults. 

For  a beginner  it  is  advisable  to  follow  the  latter  course, 
but,  should  it  be  desirable  to  make  the  transfer  immediately 
after  development,  a soft  squeegee  must  be  used  and  applied 
with  gentle  pressure. 

Of  the  intermediate  supports  available  for  double  trans- 
fer printing,  the  flexible  paper  support  is  probably  the  most 
useful  of  all. 

From  it,  carbon  pictures  may  be  transferred  to  almost 
any  kind  of  surface,  such  as  paper,  celluloid,  porcelain. 


162 


The  Modern  Methods  op  Carbon  Printing. 


opal  glass,  ivory,  wood,  canvas,  metal,  etc.,  providing  the 
ground  is  light  and  has  been  prepared  with  an  insoluble  sub- 
stratum. 

MANNER  OF  preparing  THE  SURFACE  OF  FINAL  SUPPORTS 
FOR  DOUBLE  Transfer  pictures. 

The  following  chrom-gelatine  substratum  is  especially 
recommended  for  celluloid  or  porcelain : 

Gelatine  i ounce 

Water  i6  ounces 

Chrome  alum  20  grains 

Soak  the  gelatine  in  cold  water  for  an  hour  and  dissolve 
in  a water  bath.  Then  dissolve  the  chrome  alum  in  a little 
hot  water  and  add  it  to  the  gelatine,  and  thoroughly  mix. 

The  opal  or  celluloid  must  be  perfectly  clean  and  dry. 
Flow  over  the  warm  gelatine  without  creating  any  air  bub- 
bles if  possible,  and  place  it  upon  a level  stand  or  table. 

The  print  resting  upon  the  flexible  support,  having  pre- 
viously been  soaked  in  cold  water,  is  then  well  drained  and 
placed  upon  the  celluloid  or  opal  plate,  and  squeegeed  into 
intimate  contact  therewith  and  allowed  to  become  perfectly 
dry.  Celluloid  or  porcelain  may  also  be  coated  with  a sub- 
stratum of  bichromated  albumen,  and  dried.  When  ready  to 
make  the  transfer,  soak  the  print  resting  upon  the  flexible 
support,  in  cold  water  until  limp,  and  then  bring  it  into 
intimate  contact  with  the  albumenized  surface  of  the  sup- 
port. When  dry,  the  picture  will  firmly  adhere  to  the  rigid 
support,  and  allow  the  temporary  support  to  be  stripped  with 
ease. 

There  are  quite  a variety  of  commercial  final  supports 
on  the  market  now.  Thin,  medium  or  heavy,  smooth  or 
rough,  tinted  or  plain,  to  suit  every  purpose. 

The  final  support  commonly  used,  is  a paper  coated  with 


The  Modern  Methods  of  Carbon  Printing. 


163 


a partially  insoluble  gelatine  substratum,  incorporated  with 
sulphate  of  baryta  and  a little  ultramarine  blue  to  give  it  a 
pearly  tint.  This  support  may  be  prepared  in  the  studio 
after  the  following  manner.  Take — 


Gelatine  (hard)  ounces 

Sulphate  of  baryta  ounces 

Chrome  alum  i8  grains 

Water  (distilled)  i6  ounces 


Allow  the  gelatine  to  soak  in  cold  water  as  usual  and 
dissolve  in  a water  bath  by  gentle  heat. 

Stir  in  the  baryta  and  mix  thoroughly ; then  dissolve  the 
chrome  alum  in  a little  hot  water  and  add  it  to  the  mixture, 
a little  at  a time,  and  stir  well. 

To  coat  the  paper,  roll  it  up  tightly,  with  the  face  or 
smooth  side  out,  then  place  it  upon  the  solution  and  gradu- 
ally unroll  it  by  drawing  it,  without  stopping,  from  the  solu- 
tion, after  the  manner  illustrated  in  a previous  chapter. 
When  coated,  hang  up  and  allow  it  to  become  perfectly  dry 
before  using. 

A splendid  final  support  may  be  made  by  floating  a good 
quality  of  baryta  coated  paper,  such  as  is  used  for  coating 
with  gelatine  or  collodion  emulsion  to  make  aristo  paper, 
upon  a gealtine  solution,  leaving  out  the  baryta. 


Gelatine  (medium)  ounces 

Water  lo  ounces 

Chrome  alum  15  grains 


Prepare  as  previously  given  and  coat  the  paper  in  like 
manner.  This  makes  a good  and  cheap  support  and  is  eas- 
ily prepared. 

To  prepare  drawing  paper  for  use  as  a flnal  support  coat 
it  with  the  following  solution : 


Gelatine  (hard)  i ounce 

Water  12  ounces 


After  the  gelatine  has  been  well  water-soaked  dissolve 


164  The  Modern  Methods  of  Carbon  Printing. 

it  by  gentle  heat  as  previously  directed,  then  dissolve  12 
grains  of  chrome  alum  in  2 oz.  of  hot  water  and  add  it 
slowly  to  the  gelatine.  Apply  the  solution,  warm,  with  a 
clean  sponge  or  camel’s  hair  brush  and  hang  the  paper  up  to 
dry  in  a room  free  from  dust.  When  dry  give  it  another 
application  and  taking  a print  from  the  cold  water  tray,  place 
it  upon  the  prepared  support  and  bring  it  into  contact  with 
enough  force  to  expel  all  the  air  and  superfluous  solution. 
Allow  it  to  become  thoroughly  dry  before  attempting  to 
separate  the  picture  from  the  provisional  support. 

In  transferring  carbon  pictures  to  wood  or  any  other 
porous  support,  the  pores  must  flrst  be  fllled  with  some  good 
enamel,  and  then  coated  with  an  insoluble  substratum. 

A print  transferred  from  ground  glass  or  matt  opal  will 
have  a fine  matt  surface,  and  those  from  a flexible  support 
will  have  a surface  resembling  that  of  an  albumen  print.  As 
a basis  for  water  color  painting,  or  crayon  work,  these  pic- 
tures are  greatly  superior  to  those  made  by  any  other  pro- 
cess. First,  on  account  of  being  absolutely,  unchangeable, 
and  then,  on  account  of  the  many  different  shades  of  pig- 
ment tissue  at  command,  from  which  it  is  possible  to  ob- 
tain prints  in  almost  any  tone,  and  will  harmonize  with 
the  colors  to  be  employed  in  painting;  which  must  be 
considered  quite  an  advantage.  Prints  to  be  used  for  water 
color  painting  ought  to  be  fixed  or  hardened  in  chrome  alum 
or  the  alum  and  sulphite  bath,  given  on  page  140. 

The  final  supports  furnished  by  the  different  manufac- 
turers of  carbon  tissue  are  usually  of  an  excellent  quality, 
and  give  the  best  of  satisfaction. 

Although  there  is  no  perceptible  difference  in  the  final 
result,  each  make  of  paper  requires  a somewhat  different 
treatment,  to  obtain  the  same  results. 


The  Modern  Methods  of  Carbon  Printing. 


165 


The  final  support  made  by  English  manufacturers  is  al- 
lowed to  remain  in  cold  water  for  a half  hour,  or  an  hour, 
when  it  is  ready  for  use ; or  if  in  winter,  immerse  in  warm 
water  for  just  a moment  or  two,  and  then  place  it  upon  the 
carbon  print,  which  had  first  been  allowed  to  absorb  cold 
water  for  just  a few  moments,  and  is  then  brought  in  contact 
by  a gentle  application  of  the  squeegee. 

The  other  makes  are  immersed  in  water  at  about  115° 
F.,  and  at  the  expiration  of  about  two  or  three  minutes,  the 
surface  of  the  paper  becomes  covered  with  a froth  or  little 
air-bells.  As  soon  as  the  froth  appears,  the  paper  must  im- 
mediately be  withdrawn  from  the  water  and  placed  upon  the 
carbon  print,  which  had  previously  been  soaked  in  cold  water 
for  a few  seconds ; cover  it  with  a sheet  of  celluloid  or  rub- 
ber cloth,  and  squeegee  into  contact  with  a gentle  applica- 
tion of  the  squeegee. 

To  make  the  transfer  upon  self-prepared  paper,  immerse 
the  support  in  water  at  about  104°  F.  until  the  little  air-bells 
appear.  Then  place  it  upon  the  carbon  print,  which  has  at  the 
same  time  been  allowed  to  absorb  cold  water,  squeegee  into 
contact  and  hang  up  to  dry. 

If  the  final  support  is  immersed  in  water  too  hot,  the 
gelatine  surface  will  dissolve  entirely,  and  if  brought  in  con- 
tact with  a print,  it  will  not  adhere  thereto.  On  the  other 
hand,  it  sometimes  happens  that  a support  gets  too  old  and 
the  gelatine  surface  becomes  insoluble  and  will  not  soften 
even  in  very  hot  water. 

Such  a support  is  worthless  and  should  be  thrown  away. 
It  is  always  a good  plan  to  first  test  the  paper,  to  ascertain 
the  state  of  solubility  it  is  in,  before  attempting  to  transfer 
or  make  use  of  it.  The  final  support  is  cut  a little  larger  than 
the  print,  and  a trifle  smaller  than  the  temporary  support. 


166 


The  Modern  Methods  op  Carbon  Printing. 


CHAPTER  XVI. 


FiNAi,  transfer  From  gfass  or  opal  plates. 

\ HEN  ready  to  make  the  transfer,  immerse  the  pieces 
^ ^ of  final  support  which  have  been  previously  cut  to  the 
proper  sizes,  in  clean,  cold  water  for  at  least  thirty  minutes ; 
but  an  hour  will  not  have  an  injurious  effect,  providing  the 
water  is  pure  and  contains  no  foreign  matter,  such  as  iron, 
calcium,  etc. 

When  all  the  arrangements  for  making  the  transfer  have 
been  made,  immerse  a plate  bearing  a carbon  print  in  tepid 
water  for  just  a moment  or  two,  and  then  lay  it  down  upon 
a table  or  the  flat  level  surface  of  a squeegee  board.  A piece 
of  final  support  of  a suitable  size  is  then  taken  from  the  tank 
and  immersed  in  warm  water,  for  just  a few  seconds,  to  sof- 
ten the  gelatine,  and  is  then  carefully  placed  upon  the  pic- 
ture. It  is  then  covered  with  a thin  sheet  of  celluloid  or 
rubber  cloth  and  brought  into  intimate  contact  by  a gentle 
application  of  the  squeegee.  If  a transparent  glass  had  been 
used  for  a temporary  support,  it  can  readily  be  seen,  by  ex- 
amining the  plate  on  glass  side,  whether  the  film  and  support 
is  in  absolute  contact  or  not.  If  the  surface  shows  little  shiny 
specks  or  patches,  it  is  evident  that  air  has  been  imprisoned 
between  the  film  and  support  and  must  be  removed  by  a little 
firmer  application  of  the  squeegee. 

When  the  final  transfer  has  been  successfully  made,  place 
the  plate  upon  a drying  rack  and  let  remain  about  an  hour, 
after  Avhich  it  is  placed  between  clean  dry  blotters  and  al- 
lowed to  become  perfectly  dry,  which,  according  to  tempera- 


The  Modern  Methods  of  Carbon  Printing. 


167 


ture,  requires  from  four  to  six  hours.  Avoid  placing’  the 
rack  into  a strong  current  of  air,  especially  in  hot  weather. 
The  prints  dry  from  margin  to  center  and  unless  the  proper 
precautions  have  been  taken  to  prevent  it,  the  edges  of  the 
picture  will  curl  up  as  it  gradually  becomes  dry,  and  a streaky 
and  uneven  surface  will  be  the  result.  A good  way  to  prevent 
the  edges  from  curling  up  is  to  paste  a second  piece  of  final 
support  over  the  first  and  have  it  large  enough  to  lap  over  and 
paste  it  onto  the  back  of  the  glass ; or,  to  attach  thin,  narrow 
strips  of  wood  by  means  of  photo  clips,  to  two  sides  of  the 
print,  that  will  effectually  prevent  the  print  from  leaving  the 
support  before  it  is  thoroughly  dry.  When  dry,  the  picture 
will  strip  with  a uniformly  even  and  smooth  surface,  either 
glossy  or  matt,  whatever  the  nature  of  the  temporary  sup- 
port employed  may  be. 

Do  not  attempt  to  separate  the  print  from  the  support 
until  it  is  perfectly  dry.  Any  attempt  before  that  would 
prove  fatal  to  the  picture.  In  fact,  it  would  be  impossible 
to  remove  it,  without  tearing  the  print  all  to  pieces. 

As  soon  as  the  picture  has  become  thoroughly  dry,  pass 
the  point  of  a knife  all  around  the  edge  and  peel  it  from  the 
support.  The  picture  now  resting  on  its  final  support,  if 
transferred  from  matt  opal,  will  have  a beautiful  matt  sur- 
face, which  for  artistic  appearance,  cannot  be  equaled  by  any 
other  process.  If  the  picture  rests  upon  a collodion  film,  cut 
itthroughto  the  glass  and  pass  the  point  of  a knife  under  one 
corner  of  the  print  and  peel  it  diagonally.  The  print  will 
come  off  with  a clean  margin  and  an  exquisitely  brilliant 
surface. 

Should  the  pictures  refuse  to  leave  the  support,  however, 
or  adhere  to  it  in  spots,  especially  in  the  high  lights,  when 
attempting  to  separate  them  from  the  support,  it  is  plainly 
evident  that  the  plates  used  for  temporary  supports  were 


168  The  Modern  Methods  op  Carbon  Printing. 

not  perfectly  clean,  and  the  waxing  had  been  improperly 
done.  Too  vigorous  rubbing  when  polishing  will  remove 
too  much  or  all  of  the  wax  from  the  plates,  and  will  cause  the 
print  to  adhere  firmly  to  the  glass,  from  which  it  will  be 
almost  impossible  to  remove  it  without  injury.  About  the 
only  safe  remedy,  when  such  difficulties  arise,  is  to  heat  the 
plate ; which  in  most  cases,  will  have  the  desired  effect.  This 
trouble  only  occurs  with  polished,  collodionized  plates,  how- 
ever, and  hardly  ever  with  opal  or  ground  glass. 

Pictures  developed  on  opal  or  ground  glass  may  be  trans- 
ferred to  almosf  any  kind  of  flexible  support  in  the  follow- 
ing manner: 

Make  a three  per  cent  solution  of  gelatine  and  filter 
through  fine  muslin : Use  at  about  F. 

The  pictures  resting  upon  temporary  supports  are  coated 
with  the  gelatine  solution,  and  placed  upon  a level  surface, 
and  the  gelatine  allowed  to  set;  after  which  they  may  be 
stood  on  edge  in  a medium  cool  room  free  from  dust  and 
allowed  to  rest  about  an  hour. 

The  gelatine  now  being  quite  firm,  moisten  a piece  of 
support  of  whatever  nature  it  may  be,  to  expand  it,  and  then 
place  it  upon  the  gelatine-coated  print  and  bring  into  inti- 
mate contact  therewith  by  gently  applying  the  squeegee.  The 
paper  will  adhere  firmly  to  the  print,  which  when  dry,  may 
be  readily  stripped  from  the  support. 

DOUBIvi;  TRANSFER  PICTURES  ON  CEEEUEOID  OR  OPAL  GLASS. 

Carbon  pictures  upon  celluloid  or  opal  glass  are  some- 
what difficult  to  make,  and  with  the  inexperienced,  fail- 
ures are  numerous  and  discouraging. 

The  main  difficulty  that  most  printers  complain  of,  is 
refusal  of  the  print  to  leave  the  support  without  loss  of  the 
fine  details  in  the  high-lights  and  half-tones  of  the  picture, 


The  Modern  methods  op  Carbon  Printing. 


169 


caused  by  the  print  becoming  firmly  attached  to  the  tempo- 
rary support  on  those  parts. 

To  avoid  this  trouble  is  simple  enough,  if  the  following 
mode  of  procedure  be  adopted : 

Wax  the  temporary  support  well,  and  after  polishing 
immerse  it  in  a 6 per  cent  solution  of  well-filtered  chrome 
alum,  for  about  five  minutes  and  let  dry.  The  details  will 
never  stick  to  a support  prepared  in  this  manner,  and  the 
prints  will  strip  clear  and  clean,  without  the  least  difficulty. 

Another  very  simple  method  for  making  double  transfer 
pictures  upon  celluloid  or  porcelain,  is  to  polish  a sheet  of 
smooth,  single  transfer  paper  with  talc  and  then  coat  it 
with  a lo  per  cent  solution  of  bichromated  albumen. 

To  I,  oz.  of  fresh  egg  albumen,  add  lO,  ozs.  of  water,  and 
enough  alkaline  bichromate  solution  to  give  it  a strong  yel- 
low color.  Shake  well  and  filter  through  cotton,  then  let 
stand  at  least  24  hours.  Coat  the  prepared  surface  of  the 
single  transfer  paper  with  this  solution,  and  when  dry,  ex- 
pose it  to  a good  strong  light,  for  at  least  ten  minutes  to 
harden  the  film. 

This  albumen  substratum  will  hold  the  most  delicate  de- 
tails and  the  picture  will  strip  without  a flaw,  presenting  a 
very  fine  surface. 

The  celluloid  or  opal  glass  must  of  course,  be  previously 
coated  with  chrome  gelatine. 

Gelatine  i ounce 

Water  16  ounces 

Chrome  alum  15  grains 

Allow  the  transfer  to  dry  for  about  an  hour,  and  then 
lay  it  face-down  flat  upon  a double  thickness  of  heavy  blot- 
ting paper,  and  let  remain  undisturbed  until  perfectly  dry ; 
when  the  paper  will  readily  strip,  leaving  the  print  firmlv 
attached  to  the  support  of  celluloid  or  opal  glass. 


170 


The  Modern  Methods  of  Carbon  Printing. 


chapter  XVII. 


MOUNTING  AND  FINISHING THF  CARD  MOUNTS. 

"^JEVER  in  the  history  of  photography,  has  the  market 
^ been  flooded  with  such  a profusion  of  cards  and  mounts 
of  every  description,  as  at  the  present  time. 

There  are  plain  cards,  book  deckel  and  art  folders,  in  an 
endless  variety  of  beautiful  and  artistic  designs : of  which 
the  art  folders  are  by  far  the  best  and  most  suitable  mounts 
for  carbon  pictures,  ever  introduced. 

The  soft,  mellow  tints  in  which  they  are  obtainable,  har- 
monize beautifully  with  the  tone  or  color  of  the  picture,  and 
by  exercising  good  taste  and  a little  judgment,  perfect  har- 
mony in  color  and  design  is  obtainable ; an  advantage  never 
offered  a carbon  printer  heretofore. 

Aside  from  the  great  variety  of  art  folders,  there  are  the 
platinot}rpe  cards ; an  elegant  mount  with  plate  sunken  cen- 
ter and  India  tint,  most  suitable  for  large  work,  and  probably 
the  best  mount  obtainable  for  that  class  of  pictures.  Of 
course,  for  people  of  good  taste,  and  those  possessing  a little 
skill  and  artistic  ability,  there  is  no  end  to  producing  hand- 
made mounts  and  folders ; which  may  be  tastefully  decorated 
to  harmonize  with  the  design  and  color,  as  well  as  the  subject 
of  the  picture.  Plain,  oruinary  and  inappropriate  mounts, 
instead  of  adding  to  the  effect,  detract  from  an  otherwise 
beautiful  picture,  and  make  it  common  in  appearance.  While 
on  the  other  hand,  a well  selected,  tasty  mount,  will  heighten 
the  effect,  and  add  to  the  beauty  and  charm  of  the  picture. 
The  latest  innovation  are  beautiful  cases  and  boxes,  that  are 
especially  suitable  for  carbon  pictures  upon  porcelain,  etc. 


The  Modern  Methods  op  Carbon  Printing. 


171 


mounting  thi:  prints. 

The  mounting  and  finishing  of  carbon  pictures,  whether 
single  or  double  transfer,  does  not  differ  materially  from 
that  of  finishing  aristo  or  platinum  prints. 

Any  good  mountant  of  the  non-cockling  variety  may  be 
employed.  Greater  care  must,  however,  be  exercised  in  ap- 
plying the  paste,  so  that  it  does  not  get  on  to  the  face  of 
the  print,  and  espiecially  if  it  be  in  the  nature  of  a cement. 

If,  by  accident,  any  of  the  paste  should  get  onto  the 
surface  of  the  picture,  carefully  remove  it  as  soon  as  possible 
with  a wet  sponge. 

The  print,  if  in  a wet  state,  is  placed  upon  a clean  slab 
or  plate  of  glass,  and  the  paste  applied  in  the  usual  manner. 
Unless  the  prints  have  been  thoroughly  hardened  in  the  sul- 
phite and  alum  bath,  great  care  must  be  exercised  in  hand- 
ling them,  when  in  a wet  state.  The  soft  and  spongy  film  is 
very  easily  injured  while  in  that  condition,  although  it  is 
very  tough  and  hard  when  dry. 

The  safest  and  best  way,  although  it  consumes  consid- 
erably more  time,  is  to  allow  the  pictures  to  become  per- 
fectly dry,  and  then,  placing  them  face  down  upon  a clean 
paper,  apply  the  paste  very  carefully  to  the  back  of  the 
print. 

Large  pictures,  especially,  should  be  mounted  in  that 
way. 

Paper  prints,  well  hardened  in  sulphite  of  soda  and 
alum,  if  allowed  to  become  dry,  are  re-wetted,  and  stacked 
up,  one  over  the  other,  and  the  paste  applied  the  same  as  on 
aristo  prints.  The  care,  which  must  necessarily  be  exercised 
in  selecting  or  making  a mountant  for  silver  prints,  is  not 
necessary  for  carbon  pictures. 

The  body  of  the  picture,  as  well  as  its  tone  or  color,  being 


172  The  Modern  Methods  op  Carbon  Printing. 

a pigment,  is  not  decomposed  by  the  paste.  The  only  in- 
jurious effect  a poor  paste  would  have  upon  the  picture, 
would  be  to  turn  the  support  yellow  in  time ; but  the  image, 
or  picture  proper,  would  not  be  effected. 

Double  mounting  carbon  pictures  on  paper  is  another 
good  method ; wet  the  prints  and  then  squeegee  them  down 
upon  a waxed  plate,  either  ground  or  plain.  At  the  same 
time,  immerse  some  single  transfer  paper,  which,  when  fully 
expanded  is  mounted,  gelatine  side  out,  upon  the  prints, 
resting  on  the  ground  glass.  When  perfectly  dry,  the  pic- 
tures will  strip  from  the  glass  with  a fine  surface  and  will 
not  curl.  Trim  and  mount,  by  tacking  them  at  the  comers 
like  platinotypes. 

Pictures  developed  upon  celluloid  should  be  mounted 
with  LePage’s  glue,  or  a paste  containing  a quantity  of  glue. 

SPOTTING  OUT  BLEMISHES. 

Spotting  double  transfer  pictures  developed  upon  a col- 
lodion film  must  be  done  before  making  the  final  transfer. 

Prints  mounted  upon  opal,  ground  glass,  or  paper  sup- 
ports are  best  spotted  out  after  the  transfer.  Rub  the  face 
of  the  print  with  a flannel  tuft  dipped  in  alcohol  to  remove 
all  traces  of  wax ; the  color  will  work  easier  and  adhere  bet- 
ter. Any  good  spotting  colors,  either  oil  or  water  colors, 
may  be  used  for  this  purpose.  A piece  of  unsensitized  tissue, 
the  same  color  of  the  print,  dipped  in  warm  water,  will 
answer  the  purpose  better  than  any  other  medium  that  could 


be  employed.  If  water  colors  are  used,  a dilution  of  puri- 
fied ox  gall  in  alcohol  must  be  applied,  and  if  oil  colors  are 
used,  then  first  apply  a solution  of  isinglass. 

Isinglass lOO  grs. 

Water 6 oz. 


The  Modern  Methods  of  Carbon  Printing. 


173 


SURFACING  THF  PRINTS. 

Soak  for  two  hours  and  dissolve.  Then  add  6 oz.  of 
alcohol. 

Although  the  matt  surface  of  the  carbon  print  is  consid- 
ered very  artistic  and  is  greatly  admired,  there  are  a great 
many  who  like  to  see  full  detail  all  over  the  picture  or  at 
least  an  indication  of  gloss. 

A semi-gloss  may  be  obtained  in  the  following  man- 
ner. After  development  rinse  the  picture  well  and  drain, 
then  flow  with : 

Hard  gelatine i oz. 

Formalin  i dram 

(or  as  much  as  the  gelatine  will  stand  without  precipi- 
tating.) 

Water lo  oz. 

This  will  give  the  picture  a protective  coating,  and  will 
show  up  the  definition  better  in  the  shadows. 

The  following  mixture  will  also  answer  the  purpose  ad- 
mirably, and  will  at  the  same  time  serve  as  a protection  for 


the  print : 

No.  I.  White  wax i ounce 

Gum  elemi i dram 

Oil  of  lavender i ounce 

Rectified  benzine lo  ounces 


Apply  by  rubbing  over  the  surface  of  the  print  with 


a flannel  tuft.  Or, 

No.  2.  White  wax 6 ounces 

Mastic 3-4  ounce 

Rectified  turpentine 25  ounces 


Apply  with  a flannel  tuft. 

FnamFuing  carbon  prints. 

Pigment  pictures  with  a brilliant  glossy  surface,  may  be 
produced  by  squeegeeing  the  finished  carbon  print  to  a pre- 


174  The  Modern  Methods  op  Carbon  Printing. 

pared  glass  or  ferrotype  plate ; or,  it  may  be  enameled  in  the 
usual  way. 

Polish  the  surface  of  a perfectly  clean  glass  plate  with 
talc  or  French  chalk,  and  coat  it  with  a i per  cent  enamel 
collodion  and  let  dry. 

Then  make  a plain  solution  of  gelatine  (hard)  i oz., 
water  i6  oz.,  dissolved  in  the  usual  way.  When  ready  for 
work,  take  a collodionized  plate  and  pour  a little  of  the  gel- 
atine upon  it  and  at  the  same  time  cover  or  immerse  the 
print  into  the  gelatine,  and  lay  it  upon  the  prepared  plate, 
then  with  the  squeegee,  remove  all  the  superfluous  solution 
and  bring  it  into  intimate  contact  with  the  glass. 

When  dry,  the  picture  will  strip  from  the  glass  with  an 
exquisitely  brilliant  surface. 

Enameled  carbon  pictures  are  very  beautiful  and  have 
merits  of  their  own.  The  high  gloss  of  the  collodion  sur- 
face, gives  the  true  depth  of  tone  and  vigor  of  the  print,  with 
all  the  delicacy  and  wealth  of  detail;  which  is  partly  lost  in 
the  matt  or  sunken-in  surface  of  an  ordinary  carbon  print. 

IMITATION  OF  BURNT-IN  FNAMFUS. 

Carbon  pictures,  transferred  to  porcelain,  china,  opal 
glass,  or  any  other  suitable  support,  may  be  made  to  appear 
like  burnt-in  enamels,  by  coating  them  with  Amber  or  Copal 
varnish,  and  then  heating  them  to  150^,  or  190'^  F.,  for 
several  hours  in  an  oven  and  slowly  letting  them  cool.  This 
operation,  if  repeated  several  times,  makes  a most  perfect 
imitation.  Instead  of  heating,  the  varnished  surface  may  be 
treated  with  finely  powdered  pumice  stone,  and  afterwards 
rubbed  with  tripoli  and  oil,  and  finally  polished  with  chalk. 
If  well  done,  this  method  produces  most  beautiful  results, 
pictures  that  can  hardly  be  distinguished  from  the  real  burnt- 
in  enamels. 


The  Modern  Methods  op  Carbon  Printing. 


175 


CHAPTER  XVIII. 


CARBON  PICTUREIS  UPON  IVORY  AND  IMITATION  OPAL 
SUPPORT. 

TVORY  is  very  easily  affected  with  bichromate  and  other 
chemicals  used  in  the  carbon  process.  Therefore,  it  is 
impossible  to  develop  carbon  pictures  directly  upon  a support 
of  that  nature.  The  double  transfer  process,  however,  en- 
ables us  to  overcome  this  difficulty  by  first  developing  the 
picture  upon  a flexible  temporary  support  of  paper,  and  then 
transferring  it  to  the  ivory  in  similar  manner  employed  for 
opal  or  porcelain.  The  ivory  tablets  used  for  the  purpose 
should  be  well  cleaned,  and  must  be  as  free  from  scratches 
and  blemishes  as  possible.  Should  there  be  any  scratches, 
however,  carefully  remove  them  with  cuttle  fish  powder  and 
clean  water,  rubbed  over  with  a fine  cork.  When  finished 
rinse  in  distilled  water  and  dry  with  clean  soft  linen. 

Immerse  the  ivory  into  the  warm  gelatine  solution, 
(gelatine  1^2  oz. ; alum  lo  gr.,  water  lo  ozs. ) face  up,  and 
then  introduce  the  picture  resting  upon  the  flexible  support, 
face  down  and  bring  the  film  and  ivory  into  contact  beneath 
the  surface  of  the  solution ; then  remove  the  ivory  and  adher- 
ing print  to  the  squeegee  board,  and  carefully  bring  them 
into  intimate  contact  by  gently  applying  the  squeegee. 

Set  aside  until  perfectly  dry  and  then  peel  the  paper  sup- 
port from  the  plaque,  leaving  the  picture  firmly  adhering  to 
the  ivory  support;  which  has  remained  clean  and  untar- 
nished. A little  mythelated  spirit  applied  to  the  surface  of 
the  print  with  a soft  sponge  or  flannel,  will  remove  all  traces 


176 


The  Modern  Methods  op  Carbon  Printing. 


of  wax.  The  picture  is  then  ready  for  treatment  by  any  de- 
sired process. 

CARBON  PICTURES  ON  METAE  PLATES — THE  MODERN 

daguerreotype. 

A carbon  picture  printed  from  a negative  having  a light 
ground,  when  transferred  to  a polished  silver  plate  greatly 
resembles  a daguerreotype.  This  picture,  has  been  intro- 
duced as  the  modern  daguerreotype,  and  bids  fair  to  become’ 
one  of  the  fads  in  picture  making.  The  picture,  resting  upon 
a flexible  support,  is  covered  with  an  insoluble  gelatine  by 
means  of  a soft  camels-hair  brush,  and  is  then  placed  upon 
the  metal  plate  and  sc[ueegeed  in  contact. 

When  the  picture  has  become  perfectly  dry,  the  inter- 
mediate support  will  peel  off  very  readily,  leaving  the  picture 
firmly  resting  upon  the  metal  plate. 

With  a gold  bronze  matt,  and  neatly  framed  in  a plush 
frame,  these  pictures  present  a very  rich  appearance,  and, 
furthermore,  command  a very  respectable  price. 

Carbon  pictures  upon  matt  aluminum,  present  a rather 
striking  appearance,  especially  when  printed  in  purple, 
brown,  or  sepia  pigments.  The  deposit  should  be  rather 
light  and  transparent.  A light  back-ground,  and  light  drap- 
ery, usually  give  the  best  results. 

IMITATION  OPAL  SUPPORT. 

Before  the  introduction  of  matt  surface  celluloid,  as  a 
support  for  carbon  pictures,  some  of  the  leading  carbon  prin- 
ters made  pictures  upon  a support  which  closely  resembled 
the  opal,  and  the  now  very  popular  carbon  picture  on  cellu- 
loid. 


The  Modern  Methods  op  Carbon  Printing. 


177 


These  pictures  were  very  beautiful  and  not  at  all  difficult 
to  make,  and  brought  a good  profit  to  those  who  become  pro- 
ficient in  their  production. 

The  manner  of  proceeding  is  simply  as  follows  : 

Take  any  picture  that  has  been  developed  on  a rigid  tem- 
porar}^  support;  which  had  previously  been  waxed,  such  as 
opal  or  plain  glass  plates,  and  brush  it  over  with  a thin  coat- 
ing of  isinglass,  and  allow  it  to  dry.  Then  spot  it,  or  tint  and 
color  it,  in  any  way  to  improve  its  appearance,  and  coat  it 
with  collodion  prepared  after  the  following  formula  : 

Ether 15  ounces 

Alcohol 14  ounces 

Gun  Cotton i ounce 

Soak  the  cotton  in  the  alcohol  for  about  ten  minutes,  and 
then  add  the  ether,  and  shake  it  until  dissolved.  Then  take 
a small  bottle  of  Windsor  & Newton’s  water-ground  zinc 
white,  and  dissolve  it  in  one  ounce  of  alcohol  and  add  it  to 
the  collodion,  a little  at  a time,  shaking  it  well  at  each  addi- 
tion. Any  color,  such  as  carmine  or  ultramarine  wAy  he 
added  to  give  it  a tint. 

Flow  the  collodion  to  completely  cover  the  whole  pic- 
ture and  let  it  remain  at  rest  until  perfectly  dry,  which  will 
require  a least  an  hour  in  a good,  dry  atmosphere.  Then 
paste  a layer  of  heavy,  tough  paper  over  the  back  to  support 
the  film,  and  when  perfectly  dry,  strip  the  print  from  the 
glass  and  trim  and  mount  in  the  usual  way. 

CARBON  PICTURE;S  WITHOUT  TRANSFER. 

The  latest  improvement  in  carbon  printing  is  claimed  by 
D’Archy  Power,  M.  D.,  of  San  Francisco. 

His  discovery  (?)  consists  in  coating  a thin  film  of  either 
smooth  or  matt  celluloid  with  a pigment  compound,  and  then 
sensitizing  the  same,  as  he  would  carbon  paper. 


178 


The  Modern  Methods  op  Carbon  Printing. 


The  safe  edge  may  be  dispensed  with,  and  the  exposure 
is  made  through  the  celluloid  film  in  the  usual  way,  which 
leaves  the  back  of  the  pigment  film  unaltered,  and  all  that  is 
necessary  after  exposure,  is  to  proceed  with  the  development. 
The  transfer  and  the  intervening  lo  or  20  minutes  under 
pressure  are  not  required,  and  the  development  may  take 
place  at  once. 

If  the  pigmented  celluloid  film  is  not  procurable,  the  or- 
dinary carbon  tissue  may  be  sensitized  in  the  usual  way  and 
squeegeed  to  a thin  sheet  of  celluloid  film.  For  this  method 
a safe  edge  will  be  necessary  and  it  also  requires  the  extra 
work  of  removing  the  paper  support  from  the  back  of  the 
tissue;  otherwise  the  work  is  the  same. 

After  the  print  has  been  hardened  and  washed,  a piece  of 
final  support  or  any  other  suitable  paper  may  be  mounted  on 
the  back  of  the  picture,  or  it  may  be  tinted  or  painted,  as  may 
be  desired.  The  picture  is,  of  course,  non-reversed. 

Dr.  Power  communicated  his  experience  to  the  various 
photographic  journals,  and  seems  to  put  a high  estimate  upon 
the  results  of  his  discovery. 

About  eight  or  ten  years  ago,  I experimented  on  exactly 
these  same  lines,  but  my  experience  was  quite  different.  I 
found  that  the  celluloid,  no  matter  how  thin  it  was,  destroyed 
the  purity  of  the  whites,  as  well  as  brilliancy  of  tone,  or  color 
in  general ; and,  compared  with  good  single  or  double  trans- 
fer pictures,  they  had  a very  cheap  appearance,  especially 
after  the  celluloid  had  become  a little  rubbed. 

Being  satisfied  of  the  impracticability  of  this  method  from 
an  artistic  point  of  view,  I abandoned  it,  like  probably  a 
great  many  others  have  done  before  me. 

Since  then  I have  noticed,  that  at  intervals  of  every  few 
years,  someone  stumbles  onto  this  same  idea. 


The  Modern  Methods  of  Carbon  Printing. 


179 


In  1898  Mr.  Ernest  Human,  a prominent  carbon  printer 
of  London,  hit  upon  the  idea  and  had  about  the  same  experi- 
ence I had  with  it.  It  had  never  been  mentioned  by  the  pho- 
tographic press  until  brought  into  prominence  by  Dr.  Pow- 
ers’ experience. 

Not  until  a perfectly  colorless  film  of  celluloid  is  obtain- 
able, will  it  be  possible  to  obtain  satisfactory  results  by  this 
method. 

PIGMIINT  PICTURi;S  ON  CANVAS  AS  A BASIS  POR  PAINTINGS 
IN  OIIv  COLORS. 

Pigment  pictures  on  canvas  make  an  almost  perfect  basis 
for  pictures  to  be  finished  in  oil  colors.  The  many  shades 
of  tissue  to  select  from,  make  it  possible  to  produce  a print 
that  will  be  in  perfect  harmony  with  the  colors  of  the  paint- 
er’s palette,  and  are  in  every  respect  as  permanent;  and  in 
some  instances,  much  more  so.  Transferring  pigment  pic- 
tures to  canvas  as  a basis  for  oil  painting  is  done  only  in 
the  larger  sizes,  as  a rule.  The  smaller  sizes  are  mounted 
upon  supports  such  as  ivory,  celluloid,  wood  tablets,  etc. 
These  pictures  are,  of  course,  made  by  double  transfer ; the 
print  being  first  developed  on  a flexible  support  and  then 
transferred  to  canvas,  etc. 

The  surface  of  the  final  support,  of  whatever  nature  it 
may  be,  must  be  prepared  with  a substratum  of  insoluble 
gelatine  that  will  receive  the  print  and  permanently  hold  it 
in  absolute  contact  therewith. 

Before  applying  the  insoluble  substratum  to  the  surface 
of  ordinary  canvas,  it  must  be  well  scoured  with  soap  and 
brush.  This  must  be  done  with  great  care,  however,  in 
order  not  to  lay  the  canvas  bare.  After  scouring,  allow 
the  surface  to  become  thoroughly  dry,  and  then  coat  with 
the  following  substratum : 


180 


The  Modern  Methods  of  Carbon  Printing. 


Gelatine  (hard) i ounce 

Water 12  ounces 


Dissolve  in  the  usual  manner,  and  add  30  grains  of 
chrome  alum  dissolved  in  a little  hot  water,  a little  at  a time, 
or  one  dram  of  formalin,  and  stir  well. 

The  warm  solution  is  spread  over  the  prepared  surface 
as  evenly  as  possible,  with  a sponge  or  brush,  and  allowed 
to  become  perfectly  dry  before  another  is  applied. 

Before  applying  the  solution  for  the  third  time,  immerse 
the  print  resting  upon  the  flexible  support  in  cold  water,  and 
then  apply  another  good  even  coating  of  the  insoluble  gela- 
tine to  the  canvas.  This  done,  take  the  print  from  the  water 
and  carefully  place  it  in  position  upon  the  canvas,  and  bring 
it  into  intimate  contact  with  a soft  rubber  squeegee.  It  must 
then  be  left  undisturbed  until  it  is  perfectly  dry,  when  the 
support  readily  separates,  leaving  the  print  resting  firmly 
upon  the  canvas.  After  receiving  a substratum  of  isinglass 
it  is  ready  for  the  brush  of  the  artist. 

There  is  a commercial  canvas,  grained  single  transfer 
support  obtainable,  that  makes  a splendid  imitation  of  can- 
vas. This  may  be  rriounted  on  cardboard  or  muslin,  and 
makes  a fine  substitute  for  the  real  thing. 

The  print,  which  is  usually  in  Sepia  or  Standard  Brown, 
(Sepia  for  a blond  and  brown  for  brunettes),  is  first  well 
coated  with  a solution  of  hard  gelatine  or  isinglass,  and  is 
then  ready  to  paint  upon. 


The  Modern  Methods  of  Carbon  Printing. 


181 


Part  IV. 


CHAPTER  1. 


CARBON  POSITIVE'S  ON  GPASS PRElTIMINARY  RE;mARKS. 

The  value  of  carbon  positives  is  becoming  more  and 
more  apparent,  as  the  process  finds  fit  application  in 
the  different  branches  of  photography.  Carbon  transparen- 
cies are  important  factors  in  the  reproduction  of  reversed 
negatives  for  single  transfer  printing,  and  as  a medium  for 
the  reproduction  of  enlarged  negatives.  For  the  latter  pur- 
pose especially,  no  other  process  can  in  any  way  equal  or  ren- 
der such  splendid  and  almost  perfect  results. 

The  solar  negatives  made  by  this  process  will  surpass  in 
delicacy  and  fineness,  all  other  negatives  made  for  the  pur- 
pose. 

The  carbon  lantern  slide  possesses  the  most  perfect  gra- 
dations from  clear  glass  to  the  utmost  opacity,  which,  when 
projected  upon  the  screen,  produces  pictures  with  fine  relief 
and  brilliant  and  beautiful  effects. 

In  no  other  process,  can  the  skillful  printer  find  such  a 
wide  scope  in  which  to  exercise  his  artistic  ability,  as  in  the 
production  of  carbon  window  transparencies,  both  in  mono- 
chrome and  color. 

It  will  very  readily  be  seen  that  the  positives  made  by  this 
process  may  be  put  to  very  profitable  use,  and  the  cost  of  its 


182 


The  Modern  Methods  op  Carbon  Printing. 


production  is  much  below,  or  at  least  not  exceeding,  that  of 
those  made  by  any  other  process. 

For  strong,  brilliant  transparencies,  to  be  viewed  by 
transmitted  light,  it  is  necessary  to  employ  a tissue  that  has 
been  especially  prepared  for  the  purpose.  This  tissue  is 
charged  with  a greater  amount  of  pigment  or  coloring  mat- 
ter, than  is  used  for  ordinary  tissue,  such  as  filtered  India 
ink,  or  the  like.  For  some  purposes  it  should  contain  from 
a half  to  three-fourths  more  than  the  amount  usually  em- 
ployed, in  the  manufacture  of  ordinary  carbon  tissue ; which 
is  necessary  to  yield  sufficiently  strong  and  vigorous  posi- 
tives, as  for  instance  those  which  are  used  for  the  reproduc- 
tion of  carbon  negatives. 

The  special  transparency  tissue  supplied  by  the  man- 
ufacturers of  carbon  tissue  is  usually  of  a very  excellent 
quality  and  gives  the  most  perfect  results. 

The  production  of  brilliant  effects,  fine  relief,  and  spark- 
ling transparencies,  for  windows  as  well  as  lantern  slides, 
require  sharp,  crisp  negatives,  full  of  life  and  vigor,  and 
not  a trace  of  fog.  Negatives  of  the  weak,  flat  order  are  un- 
fit for  the  purpose,  unless  they  are  made  sufficiently  intense 
by  redevelopment. 


The  Modern  Methods  op  Carbon  Printing. 


183 


OiAPTER  11. 


thi:  pre;paration  op  glass  PLATLS,  por  window  trans- 
PARpNCIpS^  LANTPRN  SLIDPS  AND  NPGATIVPS. 

' I ^ HE  smooth  surface  of  ordinary  glass  plates  will  not 
hold  the  carbon  film  in  contact  during  the  pro- 
cess of  development,  unless  it  be  especially  prepared  for  the 
purpose.  Therefore,  the  first  step  toward  making  transpar- 
encies, etc.,  by  the  carbon  process,  is  to  prepare  the  surface 
of  the  glass  plates  upon  which  they  are  to  be  developed,  with 
an  insoluble  substratum,  that  will  hold  the  film  in  contact 
during  development,  and  when  dry,  will  cause  it  to  ad- 
here firmly  to  the  plate. 

The  plate  for  this  purpose  should  be  flat,  clear,  and  color- 
less, and  as  free  from  blemishes  and  imperfections  as  pos- 
sible. The  first  operation  is  to  clean  them  with  nitric  acid, 
caustic  soda  or  ammonia,  or  any  of  the  well-known  methods 
in  use,  and  then  rinse  them  well  in  filtered  water,  and  place 
on  a clean  drying  rack  into  a cupboard  or  room  free  from 
dust,  until  dry. 

While  the  plates  are  drying,  prepare  the  following  bi- 
chromated  gelatine  solution : 


No.  I.  Gelatine  (hard) i ounce 

Water  (soft) 30  ounces 

Bichromate  of  potash 80  grains 


Allow  the  gelatine  to  soak  in  the  water  for  at  least  an 
hour,  and  then  pour  off  the  water,  and  add  thirty  ounces  of 
boiled  rainwater. 

Dissolve  by  gentle  heat  in  a water  bath,  and  add  the 
bichromate  in  powdered  form,  which  will  quickly  dissolve 


184 


The  Modern  Methods  op  Carbon  Printing. 


in  the  warm  solution,  and  then  filter  through  a double  thick- 
ness of  fine  muslin. 

Keep  the  solution  at  a temperature  of  about  85®  F.,  or 
warm  enough  to  flow  evenly.  The  plates  must  be  well  dusted 
and  then  flowed  with  the  chrome-gelatine,  after  the  manner 
of  coating  plates  with  varnish  or  colloion.  A little  practice 
will  teach  the  beginner  how  to  flow  the  solution  without 
causing  air-bells  and  ridges. 

Put  the  plates  into  a room  or  cupboard  where  they  are 
well  protected  from  dust,  and  let  them  remain  until  perfectly 
dry,  and  then  expose  them  to  strong  day-light  for  a few 
minutes,  which  has  a hardening  effect  upon  the  gelatine  and 
causes  the  substratum  to  become  insoluble. 

Plates  prepared  in  this  manner  keep  indefinitely,  and  may 
be  kept  in  stock  for  future  use. 

The  following  method  of  preparing  glass  with  an  insolu- 
ble substratum  is  used  quite  extensively,  although  probably 
a trifle  more  difficult  to  prepare  than  the  foregoing : 


Gelatine  (hard) i ounce 

Water 20  ounces 

Chrome  alum 20  grains 


Allow  the  gelatine  to  absorb  as  much  water  as  it  will  in 
about  one  hour ; then  pour  off  the  surplus  and  add  fifteen 
ounces  of  boiled  rain-water,  and  dissolve  by  gentle  heat  in 
a water  bath. 

Dissolve  the  chrome  alum  in  the  remaining  five  ounces 
of  hot  water,  and  add  it  to  the  gelatine  a little  at  a time,  by 
pouring  it  into  the  solution  in  a very  thin  stream,  stirring 
the  gelatine  vigorously  while  making  the  addition. 

Should  the  gelatine  show  any  signs  of  thickening  or  be- 
coming ropy ; add  acetic  acid,  a little  at  a time,  and  stir  well 
until  it  again  becomes  fluid,  but  no  more.  Repeat  if  the  ad- 
dition of  the  remaining  alum  should  have  the  same  effect. 
Filter  well  before  use. 


The  Modern  Methods  of  Carbon  Printing, 


185 


This  solution  is  applied  in  the  same  manner  as  the  fore- 
going, by  flowing,  or  with  a soft  brush. 

A very  excellent  substratum  is  made  by  dissolving  one 
dram  of  pure  rubber  in  benzine.  Filter,  and  flow  over  the 
plate  in  the  usual  way. 

This  makes  a splendid  substratum  where  the  positives 
are  to  be  tinted  or  colored  with  transparent  colors,  as  the 
rubber,  like  collodion  does  not  absorb  the  color. 

The  following  preparation  will  be  found  excellent  for 
plates  that  are  wanted  for  immediate  use : 

Gelatine  (hard) 2 1-2  drams 

Water 7 drams 

Glacial  acetic  acid i 1-2  ounces 

Alcohol 10  ounces 

Allow  the  gelatine  to  absorb  water  for  an  hour  and  dis- 
solve in  a water  bath.  When  dissolved,  gradually  add 
enough  of  ten  per  cent  solution  of  chrome  alum  to 
thoroughly  precipitate  the  gelatine. 

Drain  off  the  water  and  dissolve  the  precipitated  gelatine 
in  the  ounces  of  glacial  acetic  acid  by  gentle  heat,  then 
gradually  add  ten  ounces  of  common  alcohol  and  Alter.  In 
applying  this  solution,  warm  the  plate  a little  and  flow  like 
varnish  or  collodion.  The  plates  dry  Out  rapidly  and  may 
be  used  just  as  soon  as  cool.  The  solution  keeps  indefinitely 
in  a well-corked  bottle. 

Another  very  excellent  substratum  may  be  made  as  fol- 


lows : 

Hard  gelatine 4 drams 

Water 3 ounces 

Glacial  acetic  acid 6 drams 

Alcohol 20  ounces 

Formalin i dram 


Soak  the  gelatine  and  dissolve  in  the  usual  way;  then 
add  the  ascetic  acid  and  stir  well,  and  then  the  alcohol,  and 
lastly,  the  formalin. 


186 


The  Modern  Methods  of  Carbon  Printing. 


CHAPTER  111. 


WINDOW  TRANSPARENCIES  IN  MONOCHROME  AND  COLORS  BY 
SUPERPOSITION  OE  VARIOUS  PIGMENT  TISSUES. 


HESE  beautiful  pictures  are  admired  by  everyone,  but 


for  all  that,  strange  as  it  may  seem,  there  are  only  a 
very  few  photographers  who  make  them,  or  at  least  only  a 
few  that  produce  a presentable  transparency. 

Window  transparencies  made  by  this  process  are  very 
beautiful,  on  account  of  the  rich  coloring  obtainable  by  this 
method.  The  special  transparency  tissue  gives  the  best  re- 
sults, but  it  is  not  strictly  necessary  to  employ  this  for  all 
pictures.  Any  color  may  be  used  with  good  results,  and  if 
the  printer  possesses  a little  skill  and  patience,  it  is  possible 
for  him  to  produce  pictures  in  several  different  colors,  and 
be  right  in  line  with  the  popular  fad  of  making  pictures  in 
the  colors  of  nature.  Thus,  a beautiful  blue  sky,  with  white, 
fleecy  clouds,  green  trees  and  meadows,  and  red  or  brown 
buildings,  etc.,  may  be  printed  from  the  same  negative,  in 
distinctly  different  colors,  by  superimposing  different  colored 
pigment  tissues,  one  over  the  other  and  thus  produce  pictures 
that  are  strikingly  beautiful. 

Of  course,  pictures  of  this  kind  require  considerable  skill 
and  a great  deal  of  time,  with  an  abundance  of  patience. 

The  ordinary  transparency  that  is  intended  to  be  tinted 
or  colored  with  transparent  water  colors  must  be  developed 
on  plates  with  a collodion  or  rubber  substratum. 

The  three  color  positives  require  time  but  otherwise  are 
not  so  difficult  to  make  as  mig'ht  be  supposed. 


The  Modern  Methods  op  Carbon  Printing. 


187 


To  begin  with,  mask  the  negative  on  the  glass  side  with 
an  opaque  paper  mask,  having  clean  cut  edges ; leave  all  the 
parts  exposed  which  are  to  be  printed  in  one  particular  color. 
Glue  the  mask  at  the  corners  and  place  a ground  glass  of  the 
same  size  over  the  whole.  This  will  serve  to  press  the  mask 
down  smoothly  and  prevent  any  oblique  rays  or  reflection 
from  reaching  too  far  under  the  mask.  To  blend  one  color 
into  another,  vignette  the  parts  so  they  blend  softly. 

Place  the  negative  and  ground  glass  into  the  lower  left 
hand  corner  of  the  printing  frame,  and  be  very  careful  to 
place  it  in  exactly  the  same  position  for  every  succeeding 
exposure.  Each  and  every  pigment  tissue  must  be  of  exactly 
the  same  size  and  perfectly  square  and  true.  Each  piece  of 
tissue  must  be  marked  at  top  and  bottom  to  avoid  making 
mistakes. 

When  sensitizing  tissue  for  this  purpose  it  should  be 
squeegeed  and  dried  against  a ferrotype  or  squeegee  plate. 
Cut  the  pieces  of  tissue  all  to  exactly  the  same  size,  and  when 
ready  to  print  place  it  square  into  the  corner  like  the  nega- 
tive, and  place  all  the  following  pieces,  of  whatever  color 
they  may  be,  in  exactly  the  same  position.  This  part  of  the 
printing  requires  strict  attention  in  order  to  make  all  the  dif- 
ferent films  register  properly. 

To  print  the  next  color  remove  the  mask  used  for  the 
preceding  impression  and  mask  the  negative  as  before,  leav- 
ing all  the  parts  of  some  other  color  exposed.  In  this  way 
every  pigment  is  printed  in  exactly  the  same  manner.  Ev- 
ery color  requires  a different  mask,  and  each  color  is  pro- 
duced with  a different  tissue. 

The  printing  and  developing  manipulations  are  carried 
on  in  the  usual  way.  The  glass  is  prepared  as  given  on  page 
185,  and  one  film  is  superimposed  over  the  other.  Starting 
with  the  sky  or  blue,  followed  by  the  green,  then  the  build- 


188 


The  Modern  Methods  of  Carbon  Printing. 


ings,  figures,  rocks,  etc.,  always  bringing  in  the  foreground 
last.  For  double  transfer  reverse  the  order  and  trans- 
fer the  foreground  first  then  the  middle  distance  and  lastly 
the  sky,  etc.  If  this  is  carefully  done,  all  the  films  will  regis- 
ter perfectly,  so  that  when  viewed  by  transmitted  light,  they 
appear  as  one  film  in  so  many  different  colors. 

A simple  method  to  make  the  different  parts  register  per- 
fectly is  as  follows : Cut  a piece  of  white  cardboard 

the  exact  size  of  the  glass  support  upon  which  the  picture  is 
to  be  transferred.  Mark  in  distinct  lines  the  exact  size  of 
the  tissue  in  its  correct  position,  and  when  ready  to  place  a 
film  into  position,  place  this  card  as  square  and  exact  under 
the  glass  as  possible;  then  when  the  tissue  flattens  out  take 
it  by  the  two  corners  diagonally  opposite  and  place  it,  very 
carefully,  square  into  the  lower  left  hand  corner  of  the  rect- 
angle marked  upon  the  card.  Squeegee  this  film  in  contact 
with  the  glass  as  perfectly  as  possible  and  let  it  rest  for  the 
proper  length  of  time.  Develop  in  the  usual  way  and  im- 
merse the  print  when  developed  in  a weak  solution  of  alum  for 
one  minute.  Rinse  in  water  at  about  6o®  F.  for  a few  minutes 
and  then  proceed  with  the  next  film  in  exactly  the  same  man- 
ner as  the  one  just  developed,  only  with  a little  more  care, 
especially  when  placing  the  film  in  position.  If  possible  this 
should  be  done,  so  that  when  it  once  lies  flat  it  does  nor  need 
to  be  disturbed.  The  wet  film  just  developed,  might  by  pull- 
ing, be  easily  distorted,  if  not  ruptured.  Usually  three  films 
make  quite  an  attractive  picture,  but  four  will  be  found  better 
— say  blue,  green,  red  and  brown,  or  sepia  for  landscapes. 

The  most  practical  way  to  proceed  is  to  make  a light 
print  in  sepia  or  brown  of  the  whole  picture  as  it  is,  except- 
ing the  sky,  taking  care  not  to  get  the  shadows  too  dark. 
This  print  serves  to  give  the  required  shading  and  gives  the 


The  Modern  Methods  op  Carbon  Printing. 


189 


picture  a better  defined  and  sharper  appearance.  Then  fol- 
low with  the  other  films  as  previously  directed.  It  is  best 
to  dry  a picture  made  in  this  manner  slowly  and  in  a hori- 
zontal position. 

To  make  pictures  of  this  kind  on  paper  or  similar  sup- 
ports it  is  best  to  make  them  by  double  transfer.  An  opal 
plate  will  answer  the  purpose  better  than  any  other  for  matt 
surface  pictures.  Cut  all  the  pieces  of  carbon  tissue  of 
exactly  the  same  size,  and  when  the  first  impression  has  been 
transferred  run  a pointed  lead  pencil  around  the  edge  of  the 
tissue ; the  next  piece  of  tissue  is  then  placed  exactly  within 
this  mark,  and  Avill  register  perfectly,  with  the  one  just  de- 
veloped. Proceed  in  like  manner  with  all  the  remaining 
prints.  This  kind  of  work  will  be  found  very  interesting  and 
sbould  be  given  a trial  by  all  carbon  printers. 

In  blending  the  distance  of  a landscape  into  the  middle 
distance,  let  the  distance  be  printed  in  the  sky  tint  and  be 
vignetted  to  blend  softly  into  the  green,  and  the  latter  vig- 
netted to  blend  in  like  manner.  Use  blue  chalk  tissue  for  the 
sky  and  sea  green  for  the  middle  distance. 


190 


The  Modern  Methods  of  Carbon  Printing. 


CMfJPTER  IV. 


the;  IvAnte;rn  sride;. 

TN  THIS  charming  branch  of  photography,  the  carbon  slide 
will  at  once  be  recognized  as  greatly  superior  to  those 
made  by  any  other  process.  The  range  of  tone  or  color  at 
command,  makes  it  possible  to  obtain  almost  any  desired  re- 
sults, while  the  nature  of  the  process  is  such  that  any  effect, 
from  perfectly  clear  glass,  producing  pure,  brilliant  whites 
that  blend  into  delicate  half-tones,  to  the  utmost  opacity, 
may  be  obtained  without  the  least  difficulty. 

For  brilliancy,  fine  relief  and  beautiful  effects,  the  carbon 
slide  cannot  be  surpassed,  while  the  intensity  of  the  white 
light  usually  employed  for  slide  projection  does  not  in  the 
least  affect  it.  This  alone  is  sufficient  recommendation,  es- 
pecially where  slides  are  made  for  scientific  purposes.  Very 
often  these  are  difficult  to  procure  and  are  quite  valuable; 
therefore,  they  should  by  all  means  be  absolutely  permanent. 

Ordinary  carbon  tissue  will  give  fair  results,  but  for  first- 
class  slides  it  will  be  found  necessary  to  prepare  a tissue 
coated  with  a pigment  compound  containing  an  increased 
amount  of  very  finely  divided  coloring  matter,  such  as  fil- 
tered India  ink. 

Should  warmth  of  color  be  desired  to  produce  certain  ef- 
fects, it  is  best  to  add  color  of  a transparent  nature,  such  as 
gamboge,  madder,  lakes,  etc. 

The  special  transparency  tissue  supplied  by  the  different 
manufacturers  of  carbon  tissue  is  of  an  olive  black  color  and 
is  usually  of  an  excellent  quality.  It  is  only  obtainable  in 


The  Modern  Methods  op  Carbon  Printing. 


191 


bands,  however,  which  makes  it  rather  expensive  where  there 
is  but  a small  amount  of  work  to  be  done. 

One  thing  of  importance  is,  that  the  transparency  tissue 
must  have  a perfectly  even  or  smooth  surface,  so  that  it  can 
be  brought  into  intimate  contact  with  the  negative,  other- 
wise it  would  be  impossible  to  obtain  perfectly  sharp  posi- 
tives. 

To  get  the  proper  surface,  the  sensitized  tissue,  must  be 
squeegeed  against  a glass,  ferrotype,  or  hard  rubber  plate, 
and  let  remain  until  perfectly  dry.  After  which  it  may  be 
stripped  and  stored  away  in  air-tight  tin  boxes  for  use. 

Tissue  treated  in  this  manner  will  have  a smooth,  glass- 
like surface  and  will  give  perfect  contact,  and  should  be  at 
least  three  or  four  days  old  to  give  the  best  results. 

First-class  positives  require  correspondingly  good  nega- 
tives to  work  from.  Those  that  yield  the  best  slides  are  per- 
fectly sharp  and  crisp,  full  of  detail,  clear,  clean,  and  of 
good  density. 

It  is  not  necessary  to  reverse  the  negatives  used  for  this 
purpose.  The  slide  or  transparency  may  be  projected  from 
either  the  film  or  the  glass  side  of  the  plate,  giving  the  same 
effect. 

The  exposure  required  for  lantern  slides  is  just  a little 
longer  than  for  ordinary  positives  on  paper,  but  not  nearly 
so  long  as  for  positives  used  to  make  reversed  or  enlarged 
negatives. 

The  glass  used  for  first-class  slides  should  be  the  best 
crystal  glass,  which  is  sold  by  all  stock  dealers  for  that  pur- 
pose. Discard  all  imperfect  plates,  and  select  only  those 
that  are  thin  and  perfectly  flat. 

In  order  to  insure  perfect  contact,  the  glass  must  be  well 
cleaned  and  then  polished  with  chrome  alum  dissolved  in 


192 


The  Modern  Methods  op  Carbon  Printing. 


alcohol,  or  they  may  be  prepared  after  the  manner  given  for 
positives  in  general. 

With  the  exception  that  a greater  amount  of  care  should 
be  exercised,  the  developing  manipulations  are  exactly  the 
same  as  those  for  ordinary  positives  on  opal  glass.  Making 
the  transfer  or  squeegeeing  the  tissue  to  the  plate,  is  where 
it  is  necessary  to  exercise  the  greatest  care.  If  the  tissue  is 
stretched  or  drawn,  as  it  sometimes  is,  it  will  distort  the 
image,  and  the  slide  will  be  unfit  to  use. 

When  the  water  used  for  development  contains  grit  or 
a good  deal  of  organic  matter,  it  should  by  all  means  be  fil- 
tered ; it  makes  a very  marked  difference  in  the  final  results. 

The  alum  bath  must  be  well  filtered  and  the  slides  in- 
tended to  be 'colored  in  oil  colors  should  remain  immersed 
for  a considerable  time  longer  than  ordinary  carbons,  to 
thoroughly  harden  the  film ; this  is  strictly  necessary  where 
there  is  considerable  brush  work  to  do.  Use  the  sulphite 
and  alum  hardener  for  that  purpose.  On  the  other  hand, 
if  it  is  intended  to  tint  the  slides  with  aniline  dyes,  or  tone 
and  intensify  them,  it  is  best  to  omit  the  hardener  alto-  , 
gether,  or  at  least  use  a very  weak  solution  of  alum  and  im- 
merse for  just  a few  minutes. 

An  indurated  or  thoroughly  hardened  film  will  imbibe 
an  aqueous  solution  with  difficulty,  if  it  all. 

As  soon  as  the  transparency  has  been  thoroughly  washed 
and  dried,  it  is  ready  for  the  mask  and  cover  glass,  unless 
it  is  to  be  colored,  which  must  be  done  first  before  it  is 
mounted. 


TINTING  OR  COLORING  LANTERN  SLIDES. 

The  best  and  most  approved  method  of  coloring  lantern 
slides,  is  to  tint  them  with  aniline  dyes.  These  are  perfectly 


The  Modern  Methods  of  Carbon  Printing. 


193 


transparent,  show  no  grain  and  produce  wonderfully  bril- 
liant color  effects.  Colors  especially  prepared  for  this  pur- 
pose may  be  bought  at  any  art  store  or  photographic  stock 
house.  Coloring  or  tinting  lantern  slides  that  will  give 
beautiful  and  artistic  effects  upon  the  screen,  requires  consid- 
erable skill,  and  a great  deal  of  patient  practice. 

The  best  and  most  practical  way  for  a beginner  to  pro- 
ceed, is  to  color  a slide  by  artificial  light,  such  as  is  used  in 
the  lantern.  When  thought  to  be  properly  done,  project  it 
upon  the  screen  and . study  the  different  effects.  Then  tint 
another  and  make  the  necessary  alterations  and  improve- 
ments in  shade  and  density  of  color,  and  test  it  as  before.  If 
this  one  is  satisfactory  it  may  be  used  for  a sample  and  all 
the  rest  tinted  by  it  in  ordinary  daylight.  When  the  coloring 
has  been  successfull}^  done  the  slide  is  ready  to  be  mounted  in 
the  usucil  way. 

Any  good  slide  representing  some  place  of  general  in- 
terest; a good  subject  in  genre,  or  one  illustrating  a broad 
stretch  of  beautiful  scenery,  if  colored  by  a skillful  hand, 
will,  when  projected  upon  the  screen,  enrapture  the  most  cri- 
tical audience ; where  on  the  other  hand,  a poorly  tinted  one 
will  receive  but  little  or  no  attention. 

Therefore,  unless  the  colorist  possesses  some  natural  tal- 
ent, combined  with  the  necessary  good  taste,  and  an  abun- 
dance of  patience;  so  that  after  a reasonable  amount  of 
practice  he  is  able  to  color  a slide  in  a presentable  manner ; 
it  is  advisable  for  him  to  let  a good  slide  alone.  It  will  al- 
ways be  better  appreciated  than  a poorly  colored  one. 

A little  practical  experience  will  teach  the  lanternist  the 
advantage  and  xnlue  of  transparencies  made  by  this  process. 


194 


The  Modern  Methods  of  Carbon  Printing. 


CHAPTER  V. 


toning  and  intensifying  carbon  pictures  and 

TRANSPARENCIES. 

/^ARBON  pictures  and  transparencies,  weak  or  poor  in 
color,  may  be  greatly  improved  by  toning  and  inten- 
sification. This  is  done  mostly  by  the  employment  of  col- 
oring matter  or  dyes,  and  reagents  that  act  in  harmony 
with  chromic  oxide. 

The  dyes  and  coloring  matter,  if  carefully  selected,  and 
the  same  amount  of  care  exercised  in  their  preparation,  as 
well  as  application,  will  give  an  even  smooth  deposit  with- 
out showing  the  least  sign  of  granularity  or  opacity,  and 
may,  without  hesitation,  be  applied  to  the  most  delicate  parts 
of  the  finest  lantern  slide  or  transparency.  When  aniline  dyes 
are  used  it  is  well  to  avoid  such  mordants  as  chrome  alum 
or  tannic  acid.  These  are  apt  to  greatly  effect  the  brilliancy 
of  the  tone. 

Permanganate  of  Potash,  dissolved  in  distilled  water, 
and  filtered,  is  one  of  the  most  useful  toning,  as  well  as 
intensifying  agents  we  have. 

The  color  imparted  to  the  print  or  transparency  is  of  a 
more  or  less  intense  olive  green,  according  to  the  strength  of 
the  solution  employed,  and  is  not  very  pleasant  to  the  eye; 
but  it  is  very  valuable  for  the  intensification  of  carbon  nega- 
tives and  positives,  to  which  it  imparts  finer  printing  quali- 
ties than  could  be  obtained  by  any  other  method. 

The  strength  of  the  solution  varies  according  to  the  in- 
tensity and  depth  of  color  desired,  from  a one  per  cent  to  a 


The  Modern  Methods  of  Carbon  Printing. 


195 


saturated  solution.  The  following  is  employed  for  transpar- 


encies : 

No.  I.  Permanganate  of  potash i part 

Distilled  water 250  parts 

No.  2.  Water  250  parts 

Ammonia  (aqua  fort) part 

Sugar  14  part 


Immerse  the  transparency  in  clear,  cold  water  for  a few 
minutes,  and  then  apply  a solution  of  equal  parts  of  Nos.  i 
and  2.  Tet  remain  until  the  desired  color  or  intensity  is  ob- 
tained and  then  rinse  thoroughly  in  clean  water.  The  tone 
Avill  be  of  a yellowish  tint. 

Sepia  Brown. — This  color  is  obtained  by  first  applying 
a one  per  cent  solution  of  permanganate  of  potash  and  after- 
wards immersing  the  print  in  a weak  solution  of  pyrogallic 
acid. 

Deep  Black. — Apply,  first,  a one  per  cent  solution  of  per- 
manganate of  potash,  and  then  gallic  acid.  A weak  solution 
of  sulphide  of  ammonia  is  usually  employed  as  a clearing 
agent. 

W arm  Brown. — Pyrogallic  acid  and  nitrate  of  silver  give 
fine  warm  black  tones.  Use  hyposulphite  of  soda  for  clear- 
ing. 

Dark  Purple. — The  following  give  fine  results ; 


No.  I.  Ferric  Sulphate  i dram 

Water  (distilled)  2^4  oz. 

No.  2.  Carbonate  of  Sodium 54  dram 

Water  2l4  oz. 

No.  3.  Gallic  acid  i dram 

Water  254  oz. 


If  the  chemicals  dissolve  tardily,  apply  gentle  heat. 
These  solutions  keep  indefinitely.  Filter  carefully  before 
use.  The  manner  of  toning  is  to  employ  the  solutions  separ- 


196 


The  Modern  Methods  of  Carbon  Printing. 


ately  in  the  order  given  from  eight  to  twelve  minutes,  rins- 
ing after  each  application. 

Green. — For  a green  tone  use  pyrogallic  acid  for  No.  3 
instead  of  gallic. 

Dark  Green. — A very  dark  green  is  produced  by  the  em- 
ployment of  tannic  acid  or  catechu.  Both  the  tannin  and  cat- 
echu have  a tanning  or  hardening  action  on  the  gelatine. 
Wash  thoroughly.  Should  it  happen  that  the  image,  in  dry- 
ing, has  obtained  a greater  degree  of  intensity  than  is  de- 
sired a solution  of  citric  or  oxalic  acid  will  reduce  it  to  any 
desired  degree. 

Red. — Bichromate  of  potash,  when  followed  by  a solu- 
tion of  nitrate  of  silver,  gives  a color  similar  to  red  challc. 
Clear  with  hyposulphite  of  soda. 

Carmine  Red. — An  ammoniacal  solution  of  coraline,  di- 
luted in  water,  produces  a very  fine  color. 

Violet. — Alizarin  dissolved  in  alcohol  and  diluted  in  lime 
water.  A variety  of  tones,  ranging  from  violet  to  purple 
may  be  produced  by  the  employment  of  alizarin  with  the 
caustic  alkalies.  The  intensity  of  color  varies  according  to 
strength  of  solutions. 

Purple. — An  ammoniacal  solution  of  alizarin  with  ace- 
tate of  lead  gives  a fine  purple  tone. 

Brozvn. — Ferrocyanate  of  potash  with  chloride  of  nickel 
make  a very  fine  brown  tone. 

Warm  Sepia. — Nitrate  of  uranium  with  potassium  ferro- 
cyanide,  produce  a splendid  warm  sepia. 

Green. — Extract  of  indigo  and  bichromate  of  potash  pro- 
duce a green  that  is  suitable  for  foliage  and  landscapes  gen- 
erally. Another  green  is  obtained  with  ; 

Sulphuric  acid  6 cc.  m. 

Water  240  cc.  m. 


The  Modern  Methods  op  Carbon  Printing. 


197 


Should  any  perceivable  sign  of  reticulation  appear  dur- 
ing the  use  of  any  of  the  alkaline  solutions,  it  is  advisable  to 
remove  them  at  once,  to  a weaker  solution. 

Blue.— Vor  blue,  extract  of  indigo  will  be  found  to 
answer  best.  Aniline  is  liable  to  fade. 

There  are  numerous  other  dyes  and  toning  solutions  that 
might  be  employed  in  toning  and  intensifying  carbon  pic- 
tures, but  the  list  given  will  answer  the  requirements  of  the 
most  fastidious  carbon  printers. 

IvOCAC  TONING. 

Very  agreeable  color  effects  may  be  produced  by  toning 
the  different  parts  of  a picture  or  transparency  with  a brush. 
For  instance,  a landscape  with  green  trees,  rocky  cliffs,  and 
blue  sky  may  easily  be  transformed  into  a colored  picture  by 
employment  of  the  different  toning  agents  given  in  this 
chapter. 

The  manner  of  proceeding,  is  to  lay  the  picture  down 
upon  a level  surface  and,  without  previously  moistening  the 
film,  apply  the  toning  solutions  with  a suitable  camel’s  hair 
brush.  When  enough  has  been  absorbed  by  the  film  to  give 
it  the  desired  tone  or  color,  remove  the  superfluous  solution 
with  a tuft  of  absorbent  cotton  or  a piece  of  lint-less  blotter. 

The  toning  solution,  applied  in  this  manner,  should  con- 
tain a little  starch,  gum  arable  or  glycerine,  to  keep  it  from 
crawling  or  spreading  too  freely. 

The  amateur  finds  more  pleasure  in  this  kind  of  work 
than  the  professional ; for  the  reason  that  it  takes  consider- 
able time  and  lots  of  patience,  to  do  it,  and  to  do  it  right. 


198 


The  Modern  Methods  of  Carbon  Printing. 


CHAPTER  VI. 


THE  REPRODUCTION  OE  NEGATIVES  FROM  CARBON  POSITIVES. 

T?OR  THIS  purpose,  the  carbon  positive  is  greatly  superior 
to  all  others,  and  if  it  were  but  for  this  purpose  alone,  it 
would  amply  repay  every  photographer  for  the  trouble  of 
acquainting  himself  with  the  working  details  of  this  valua- 
ble process.  The  exquisitely  fine  deposit  of  a carbon  trans- 
parency faithfully  renders  the  most  delicate  details  and  grad- 
ations of  light  and  shade  of  the  original  negative. 

This  superior  quality  of  the  carbon  positive  makes  it 
possible  to  reproduce  enlarged  negatives  of  quite  extended 
dimensions,  without  showing  the  least  particle  of  structure, 
or  grain ; and  are  equal,  and  very  often  superior,  to  the  orig- 
inals. 

The  negatives  enlarged  from  carbon  transparencies  may 
be  greatly  improved,  and  the  work  on  the  .enlarged  negative 
reduced  by  skillful  touches  of  brush  and  pencil,  both  on  the 
original  negative  and  the  intervening  positive. 

The  majority  of  printers,  however,  prefer  to  leave  the 
original  negative,  and  also,  the  positive,  untouched,  so  as 
to  get  full  detail  into  the  enlarged  negative,  and  in  that  way 
are  enabled  to  produce  a faultless  likeness,  and  a picture  that 
is  equal,  in  every  respect,  to  one  made  from  an  original  nega- 
tive. 

The  most  approved  method  for  producing  enlarged  neg- 
atives is  to  make  a large  positive,  the  exact  size  of  the  in- 
tended negative,  by  daylight  in  the  copying  camera,  or  by 
means  of  artificial  light,  with  the  enlarging  lantern.  Upon 


The  Modern  Methods  of  Carbon  Printing. 


199 


this  enlarged  positive  all  the  improvements  possible  may  be 
made  by  carefully  retouching  it  on  both  sides,  and  then 
making  the  large  negative  from  it  by  contact,  and  again 
retouching  the  negative. 

This  method  involves  more  labor  and  expense,  but  pro- 
duces the  most  perfect  results  ; in  fact,  there  is  very  little  or 
no  difference  between  these  and  original  negatives. 

The  negatives,  unless  it  be  for  making  solar  enlarge- 
ments, are  made  on  any  good  branch  of  dry  plates.  The  posi- 
tives, only,  are  produced  by  the  carbon  process.  These 
positives  must  be  printed  very  deep,  so  that  they  appear 
greatly  over-printed,  and  should  always  be  printed  upon 
transparency  tissue,  quite  old,  and  dried  against  some  rigid 
support,  either  glass  or  ferrotype  plate.  Otherwise  the 
positive  might  not  be  perfectly  sharp  on  account  of  the  tis- 
sue not  having  a perfectly  smooth  surface,  which  would  pre- 
vent it  from  coming  in  proper  contact  with  the  negative. 

One  of  the  oldest  methods  and  one  that  can  be  especially 
recommended,  is,  to  coat  the  required  number  of  plates  with 
a I per  cent  collodion,  which  when  set,  is  rinsed  with  filtered 
water  until  the  greasy  lines  disappear,  and  dried,  or,  left  in 
the  water  until  wanted ; which  might  be  several  hours,  with- 
out injury. 

When  the  printed  tissue,  immersed  in  the  cold  water, 
flattens  out,  take  one  of  the  collodion! zed  plates,  rinse  it 
quickly  under  the  tap  and  slip  it  under  the  tissue.  Then  bring 
it  in  contact  with  the  plate  under  water  and  place  it  on  the 
squeegee  board,  where  it  is  brought  into  intimate  contact 
with  the  squeegee.  It  is  then  allowed  to  rest  a half  hour 
and  developed. 

Or,  instead  of  collodionizing,  the  plates  may  be  coated 
with  a rubber  substratum,  which  answers  the  purpose  admir- 


200  The  Modern  Methods  of  Carbon  Printing. 

ably ; the  tissue  adheres  well  to  either  surface  and  the  inten- 
sifier  or  redeveloping  agents  do  not  stain  it  as  they  would 
the  gelatine  substratum. 

Positives  or  negatives  that  may  be  printed  from  either 
side,  are  made  in  the  following  manner. 

The  perfectly  clean  plates  are  first  waxed  and  then  coated 
with  a heavy  leather  collodion,  or  with  the  following. 

Alcohol 4 ounces 

Ether 4 ounces 

Amyl  acetate  8 ounces 

Gun  cotton 240  grains 

Before  coating,  the  waxed  plates  must  be  edged  with 
rubber  or  chrome  gelatine. 

After  coating  these  plates  must  then  be  allowed  to  dry, 
and  are  then  again  coated  with  a very  thin  substratum  of 
chrome  gelatine,  and  when  dry  are  then  ready  for  use. 

Should  the  positive  lack  intensity  or  color,  it  may  very 
easily  be  intensified  by  various  methods  of  which  the  follow- 


ing is  one  of  the  best : 

No.  I.  Permanganate  of  potash i dram 

Water  .30  ounces 

No.  2.  Water  30  ounces 

Glycerine  V2  ounce 

Ammonia  (liquid)  V2  ounce 


For  use,  mix  equal  parts  of  No.  i and  No  2.  and  im- 
merse the  film  until  the  desired  color  or  density  has  been 
obtained,  which  is  sometimes  very  quickly  done.  The  color 
produced  b)^  this  method  is  an  olive  green,  which  is  valuable 
in  bestowing  upon  the  negative  or  positive  better  printing 
qualities. 

Instead  of  using  another  positive  film,  an  ordinary  dry 
plate  of  a slow  variety  may  be  employed. 

Negatives  of  the  same  size  as  the  positive  are  usually 


The  Modern  Methods  op  Carbon  Printing. 


201 


made  by  contact.  Reduced,  or,  enlarged  negatives  are  made 
in  the  copying  camera. 

The  best  way  to  make  a negative  from  a positive  liy  con- 
tact, is  to  make  it  in  the  camera.  Direct  the  lens  towards 
a sheet  of  white  paper  or  cardboard  placed  in  a good, 
strong  light,  and  then  place  the  positive  into  the  holder 
and  a good  brand  of  dry  plate  back  of  it ; make  the  ex- 
posure and  develop  in  the  usual  way. 


202 


The  Modern  Methods  op  Carbon  Printing. 


CHAPTER  VII. 


CARBON  e;nIvARGEME)NTS BY  ARTIFICIAL  LIGHT  AND  THE 

solar  camera — The  negative. 


xA.RBON  enlargements,  by  either  artificial  light  or  solar 


camera,  require  thin,  delicate  negatives  full  of  detail 
and  fine  printing  qualities. 

For  the  production  of  negatives  of  this  kind  the  carbon 
transparency  serves  as  an  almost  perfect  medium. 

The  special  transparency  tissue,  when  dried  against  a 
rigid  support,  will  produce  positives  of  a superior  quality, 
such  as  could  not  easily  be  equaled  by  any  other  process. 

When  a satisfactory  transparency  has  been  obtained,  re- 
peat the  operation  with  it,  and  the  result  will  be  a negative, 
which  may  be  improved  in  various  ways  to  obtain  the  best 
results. 

The  glass  for  this  purpose,  should  be  a thin,  white  crys- 
tal, as  free  from  scratches  and  blemishes  as  possible,  and 
should  be  coated  with  a substratum  or  rubber  of  collodion 
applied  as  given  in  the  previous  chapter. 

The  developing  manipulations  are  precisely  the  same  as 
for  single  transfer  pictures. 

It  is  not  strictly  necessary,  however,  to  make  a carbon 
negative.  The  positive  may  be  placed  into  a copying  camera 
and  a negative  made  upon  any  good  brand  of  dry  plate.  Or, 
if  familiar  with  the  wet  process,  a collodion  negative  will 
answer  the  purpose  almost  better  than  any  negative  dr)" 
plate  made.  Thin  negatives,  such  as  are  used  for  aristo  pa- 
per, may  be  printed  from  as  they  are,  if  electric  light  is  the 


The  Modern  Methods  op  Carbon  Printing. 


203 


illuminant;  and  the  work  of  making-  a duplicate  negative 
may  be  dispensed  with. 

The;  ipnIvArging  lante;rn. 

Almost  every  photographer  engaged  in  the  business  to 
any  extent  in  these  days  of  bromide  enlargements,  is  familiar 
with,  or  possesses,  an  enlarging  lantern  of  some  kind. 

The  condensing  lenses  should  be  at  least  eight  or  ten 
inches  in  diameter.  With  these,  it  is  possible  to  get  a strong 
and  even  illumination,  and  uniformly  exposed  pictures,  clear 
to  the  edges  of  the  negative. 


enlarging  lantehn. 

The  best  and  most  sensible,  and  the  only  way,  to  employ 
an  enlarging  lantern  right,  is  to  construct  a permanent  stand 


204 


The  Modern  Methods  of  Carbon  Printing. 


for  it,  where  it  is  handy  and  always  ready  whenever  re- 
quired for  use.  The  value  of  such  an  arrangement  cannot 
be  over-estimated.  Nearly  every  one  dislikes  the  trouble  of 
arranging  shaky  tables,  boxes,  etc.,  every  time  there  is  a 
print  to  make.  A permanent  arrangement  will  do  away  with 
this  bother  and  makes  the  enlarging  lantern  more  popular 
in  the  studio. 


THE  solar  camera. 

The  solar  reflector  will  be  found  the  most  convenient  for 
this  class  of  work.  These  instruments  are  too  well  known 
to  need  any  further  mention  here.  The  work  is  the  same  as 
that  with  the  enlarging  lantern,  with  the  exception  of  the 
exposure,  which  must  be  considerably  shorter.  The  acti- 
nometer  is  placed  within  the  circle  of  illumination  where  it 
does  not  interfere.  The  developing  is  done  in  precisely  the 
same  manner  as  previously  given  for  ordinary  carbon  pic- 
tures. 

Tbe  recent  improvements  in  electric  lamps  greatly  facili- 
tates printing  operations  in  the  studio ; so  that  the  photogra- 
pher who  is  equipped  with  one  of  the  new  photo-electric 
printing  lamps  is  no  more  dependent  on  the  suns  rays ; but 
can  turn  out  a uniform  lot  of  prints  in  any  kind  of  weather, 
and  do  it  promptly. 


The  Modern  Methods  of  Carbon  Printing. 


205 


The  carbon  printer  is  further  greatly  benefited  by  this 
system : The  printing  may  be  done  where  the  atmosphere  is 
dry  and  temperature  moderate  and  uniform;  which  keeps 
the  tissue  in  fine  working  order  and  produces  the  very  best 
results. 

Another  great  benefit  derived  from  the  use  of  the  electric 
light,  are  the  splendid  results  obtafned  with  the  enlarging 
lantern.  Beautiful  enlargements,  almost  equal  to  pictures 
made  from  original  negatives,  and  they  are  as  readily  and 
cheaply  produced  as  solar  prints. 

The  sensitive  paper  may  be  tacked  up,  and  exposed  in 
the  same  manner  as  bromide  paper,  with  the  exception  that 
the  actinometer  must  be  placed  in  the  circle  of  light,  or  a 
light  print  may  be  made  on  aristo  paper  and  the  exposure 
timed.  The  carbon  tissue  is  then  exposed  for  exactly  the 
same  length  of  time,  and  will  be  found  approximately  cor- 
rect. 

Probably  the  best  and  most  expedient  way  of  making 
carbon  enlargements  with  the  enlarging  lantern  is  to  polish 
a perfectly  clean  glass  with  waxing  solution,  after  the  man- 
ner of  Avaxing  a temporary  support,  for  the  double  transfer 
process.  Squeegee  the  sensitive  tissue  against  the  prepared 
surface  of  this  glass,  as  it  comes  from  the  sensitizing  bnth. 
When  dry,  clean  the  glass  well,  and  make  the  exposure 
through  the  glass.  The  experienced  workman  will  readily 
see  the  advantage  in  this  manner  of  working.  The  picture 
will  be  uniformly  sharp  all  over,  and  the  tissue  being  already 
in  contact  with  the  glass  and  may  be  developed  immediately 
after  exposure,  if  intended  for  double  transfer ; if  for  single 
transfer,  it  must  be  stripped  from  the  glass,  and  transferred 
to  whatever  support  it  is  desired,  celluloid,  paper,  opal  glass 
or  porcelain.  The  sensitive  tissue  brought  in  contact  with  a 
clean  glass  is  well  protected  from  dust  and  foul  gases,  and 
therefore  always  produces  nice,  clean  pictures. 


206 


The  Modern  Methods  of  Carbon  Printing. 


CHAPTER  VIII. 


failures,  their  cause  and  remedy. 

^ I ^HE  carbon  process,  like  all  other  printing  methods,  re- 
quires  a certain  amount  of  practical  experience  to  en- 
able one  to  become  a thoroughly  capable  and  proficient 
carbon  printer.  Until  this  is  the  case,  failures  will  occur, 
which,  in  a moderate  degree,  are  valuable  lessons  for  the 
beginner  in  carbon  printing. 

Were  the  process  entirely  devoid  of  difficulties  and  fail- 
ures, it  would  find  but  little  favor  among  skilled  workmen. 
It  is  the  perplexities,  and  the  difficulty  to  master  them,  that 
lend  a certain  charm  to  the  process. 

The  following  are  a number  of  failures  that  are  apt  to 
occur  with  beginners,  but  never  trouble  the  expert : 

1.  Failure.— Aiio.Y  sensitizing  carbon  tissue  in  the  hot 
months  of  summer,  the  film  softens  and  runs  down  in 
streaks. 

Cause. — The  temperature  of  the  drying  room  was  too 
high,  the  bichromate  solution  was  too  warm,  or  the  gelatine 
was  of  a poor  quality. 

Remedy. — Cool  the  bath  to  50°  F.  or  lower,  and  if  the 
tissue  seems  all  right  when  taken  from  the  bath,  but  starts 
to  run  down  in  streaks  after  it  is  hung  up,  it  is  plainly  evi- 
dent that  the  room  is  too  warm.  Lower  the  temperature  and 
increase  the  draught.  An  electric  exhaust  fan  is  the  proper 
caper,  or  lay  the  tissue  .flat  until  partly  dry. 

2.  Failure. — The  tissue  cockles  and  cannot  be  brought  in 
proper  contact  with  the  negative. 


The  Modeen  Methods  of  Carbon  Printing. 


207 


Cause.— Tht  superfluous  solution  was  not  evenly  re- 
moved from  the  back  of  the  tissue.  Sometimes  drying  the 
tissue  too  quickly  and  too  long  will  have  the  same  effect. 

Remedy. — Remove  the  moisture  from  the  back  of  the 
tissue  as  evenly  as  possible.  Tissue  in  that  condition  must 
be  allowed  to  absorb  moisture  enough  to  make  it  pliable; 
then,  covering  it  with  a clean  piece  of  paper,  roll  it  tightly 
around  an  inch  (or  larger)  roller  and  let  it  remain  for  an 
hour.  With  the  use  of  scjueegee  plates  this  never  occurs. 

3.  Failure. — The  tissue  does  not  adhere  to  the  transfer 
paper,  celluolid,  etc.,  and  when  attempting  to  remove  the 
paper  support  from  the  film,  it  is  done  with  difficulty  and 
usually  tears  through  on  the  darker  parts  of  the  print,  which 
is  pulled  from  the  support.  Or,  after  the  paper  has  been  re- 
moved, it  is  impossible  to  cause  the  gelatine  to  become  solu- 
ble, and  the  picture  remains  buried  in  an  insoluble  mass  of 
pigment. 

Cause. — The  insolubility  of  the  tissue  is  either  caused 
by  a warm  sensitizing  bath ; a poor  quality  of  bichromate ; 
drying  too  slowly,  or  it  has  in  some  way  been  exposed  to 
white  light,  and  continuous  insolubilization ; the  tissue  was 
over-exposed,  or  left  too  long  before  development ; the  tis- 
sue was  too  old. 

Remedy. — Remedies  for  the  above  failures  suggest  them- 
selves. Keep  the  tissue  in  total  darkness  until  ready  to  use. 
After  tissue  has  been  excited  for  ten  days  in  winter,  insolu- 
bility may  be  expected.  Four  days  in  summer  is  about  the 
limit  unless  a preservative  such  as  accelorine  is  used.  De- 
velop as  soon  as  possible  after  exposure. 

4.  Failure. — The  edges  of  the  film  wash  up  during  de- 
velopment, otherwise  no  difficulty  occurs. 

Cause. — The  tissue  was  allowed  to  remain  too  long  in 
the  water  before  effecting  the  transfer,  or  the  moisture  on 


208 


The  Modern  Methods  op  Carbon  Printing. 


the  margin  of  the  support  was  not  blotted  off  after  the 
transfer. 

Remedy. — As  soon  as  the  tissue  flattens  out  place  it  upon 
the  support  and  apply  the  squeegee.  Sometimes  when  the 
negative  is  masked  on  the  fllm  side  the  heavy  shadows  will 
wash  up  where  they  are  cut  off  abruptly.  Mask  on  the  glass 
side.  Dry  the  back  of  the  tissue  as  well  as  margin  of  the 
support  well  after  making  the  transfer. 

5.  Failure. — The  picture  appears  dark  and  heavy  and 
is  difficult  to  develop. 

Cause. — This  is  due  either  to  over-exposure  or  the  tissue 
had  become  partially  insoluble.  It  was  too  old. 

Remedy. — Shorter  exposure  or  the  addition  of  a little 
bicarbonate  of  soda,  or  common  salt,  will  sometimes  help  a 
tardy  development.  In  obstinate  cases  use  carbon  reducer. 
Should  this  fail,  the  tissue  is  insoluble,  and  it  would  be  a 
waste  of  time  to  do  anything  further  with  it. 

6.  Failure. — The  picture  develops  too  readily;  appears 
chalky  and  without  half-tones  ; is  too  light. 

Cause. — A weak  sensitizing  bath,  or  the  tissue  being  too 
new  will  cause  this  trouble,  but  usually  it  is  caused  by  in- 
sufficient exposure  to  light,  or  water  too  hot  at  the  begin- 
ning of  development. 

Remedy. — A sensitizing  bath  of  the  proper  strength. 
The  tissue  should  be  at  least  a day  old  in  summer  and  three 
days  in  winter  to  give  good  results.  Development  must  be 
started  at  a lower  temperature.  If  the  tissue  is  too  fresh, 
expose  it  to  diffused  light  a few  moments  or  flow  it  with  a 
I per  cent  collodion  before  putting  it  onto  the  negative  and 
it  will  then  probably  work  all  right. 

7.  Failure. — The  picture  appears  veiled  with  a fine,  black 
network,  reticulation,  or  it  is  granular. 

Causes. — This  trouble  appears  mostly  during  hot  weather 


The  Modern  Methods  of  Carbon  Printing. 


209 


or  is  caused  by  immersing-  the  tissue  in  water  of  too  high  a 
temperature  when  effecting  the  first  transfer.  Too  much 
alkali  and  sudden  changes  in  temperature  cause  coarseness 
and  granularity. 

Remedy. — Immerse  the  tissue  in  water  at  about  50°  F. 
The  addition  of  a little  salicylic  acid,  or  a few  drops  of  a ten 
per  cent  solution  of  a bichloride  of  mercury  to  the  sensitizing 
bath  in  summer,  will  cure  this  evil.  Slow  di*ying  of  the  tis- 
sue, enough  to  cause  a slight  insolubility  all  over  the  surface, 
a weaker  sensitizing  bath,  or  a thin  coat  of  collodion,  are 
all  effective  remedies  for  this  trouble. 

8.  Failure. — Tiny  air  bells  that  cause  little  shiny  specks. 

Cause. — This  trouble  arises  from  air  being  imprisoned 
between  the  tissue  and  support ; the  generating  of  carbonic 
acid  gas  between  the  film  and  support ; the  development  was 
commenced  with  water  at  too  high  a temperature;  the  wa- 
ter used  to  eliminate  the  alum  was  too  cold.  Use  water  at 
65*^  or  70^  F. 

Remedy. — Before  placing  the  tissue  upon  the  support 
remove  all  the  air  bells  and  froth  adhering  to  the  surface 
with  a soft  camels-hair  brush,  then  take  it  by  the  corners 
diagonally  opposite  and  place  the  diagonal  line  upon  the  sup- 
port first,  and  then  carefully  let  down  the  corners,  apply  the 
squeegee  from  center  to  side,  and  the  trouble  cannot  be 
blamed  to  the  transfer  manipulations.  Very  often,  and  es- 
pecially with  pictures  on  celluloid  this  trouble  occurs  be- 
tween the  film  and  support,  especially  when  very  hot  water 
has  been  used  for  development  and  the  print  was  immersed 
in  cold,  hard  water  afterwards.  Let  the  print  soak  in  cold 
water  for  half  hour  before  development  and  then  raise  the 
temperature  gradually.  Tap  water  coming  from  the  hydrant 
under  high  pressure  always  contains  a great  deal  of  air,  and 


110 


The  Modern  Methods  op  Carbon  Printing. 


is  almost  unfit  for  developing  carbon  pictures.  Soft  water 
throughout  the  development  always  gives  the  best  results. 

9.  Failure. — The  tissue  refuses  to  adhere  to  the  support. 
The  film  rises  when  warm  water  is  applied. 

Cause. — The  tissue  had  remained  in  the  cold  water  too 
long  before  it  was  transferred  to  the  support ; or  it  had  been 
exposed  to  foul  air  or  gases,  etc.  On  celluloid,  the  sub- 
stratum was  too  soft. 

Remedy. — Put  the  tissue  under  pressure  for  an  hour, 
then  start  the  development  in  water  at  a medium  tempera- 
ture, and  gradually  increase  it  until  the  pigment  begins  to 
ooze  out  around  the  edge,  then  strip  the  paper  from  the 
back,  lower  the  temperature  and  proceed  carefully  until  the 
desired  effect  has  been  obtained.  Use  a good,  hard  gelatine 
for  a substratum  on  celluloid. 

TO.  Failure.— The.  tissue  does  not  adhere  to  the  collo- 
dion plate  (double  transfer.) 

Cause. — The  tissue  was  too  old  or  had  become  partly 
insoluble. 

Remedy. — When  the  tissue  is  not  fresh,  or  in  warm 
weather,  flow  the  collodionized  plate  with  albumen,  or  a 
two  per  cent  solution  of  hard  gelatine  containing  a little 
chrome  alum  will  answer. 

II.  Failure. — The  picture  appears  to  be  full  of  little 
black  specks. 

Cause. — Particles  of  dirt  or  tissue  imprisoned  between 
the  film  and  support,  sometimes  adhering  to  the  surface. 
Often,  when  water  has  been  used  for  several  prints  it  be- 
comes full  of  little  black  particles  that  have  become  detached 
from  the  borders  of  the  tissue.  These  adhering  to  the  sur- 
face become  imprisoned  between  the  film  and  support  and 
give  rise  to  black  specks. 

Remedy. — Use  fresh  water. 


The  Modern  Methods  op  Carbon  Printing. 


211 


12.  Failure. — The  picture  appears  granular. 

Cause. — The  paper  was  dried  at  a very  high  temperature, 
or  had  been  exposed  to  bad  air,  or  gases.  The  use  of  too 
much  alkali ; or  the  tissue  was  not  in  contact  with  the  sup- 
port long  enough  before  it  was  developed. 

13.  Failure. — Pictures  developed  upon  glass  plate  be- 
come reticulated. 

Cause. — The  exposed  tissue  was  immersed  in  warm,  in- 
stead of  cold  water,  when  the  first  transfer  was  made. 

Remedy. — Make  the  first  transfer  in  cold  water.  When 
developing,  soak  in  cold  water  first,  and  then  gradually  raise 
the  temperature  to  a point  that  will  cause  the  solubility  of 
the  gelatine,  then  remove  the  paper  and  proceed  with  the 
development  at  a lower  temperature. 

Use  soft  water  at  a medium  temperature.  Keep  the  print 
under  water  after  the  original  paper  support  has  been  re- 
moved, until  the  bichromate  is  well  washed  out. 

14.  Failure. — The  picture  appears  cloudy,  especially  in 
the  lighter  parts.  Looks  patchy. 

Cause. — Pressure  of  the  fingers  on  the  back  of  the  tis- 
sue ; pouring  hot  water  on  the  back  of  the  tissue  or  the  use 
of  old  blotters  that  are  full  of  gelatine;  the  celluloid  was  not 
clean ; too  heavy  pressure  on  the  squeegee. 

Remedy. — Avoid  getting  the  fingers  in  contact  with  the 
face  of  the  tissue,  and  the  pressure  of  the  hands  against  the 
moist  paper  on  the  back  when  effecting  the  first  transfer. 
Use  only  clean  blotters  and  see  that  the  celluloid  is  perfectly 
dean.  Do  not  use  cpite  as  much  pressure  on  the  squeegee, 
and  do  not  strike  the  tissue  with  much  force  when  placing 
the  squeegee  upon  it  during  transfer. 

15.  Failure. — The  pictures  refuse  to  leave  the  temporary 
support  when  making  the  final  transfer. 


212  The  Modern  Methods  op  Carbon  Printing. 

Cause. — This  trouble  is  caused  entirely  by  the  faulty 
waxing  of  the  temporary  support. 

Remedy. — Use  none  but  pure  wax,  and  immerse  the 
plates  in  a 5 per  cent  chrome  alum  solution  and  rinse  well 
before  using.  The  addition  of  a little  resin  will  help  over- 
come the  difficulty.  New  plates  should  be  polished  but  very 
little,  or  not  at  all.  After  the  plates  have  been  re- waxed  sev- 
eral times  this  trouble  never  occurs. 

1 6.  Failure. — It  sometimes  happens  that  the  picture  will 
not  adhere  to  the  final  support. 

Cause. — This  will  happen  when  the  gelatine  is  dissolved 
away  from  the  surface  of  the  support — the  temperature  of 
the  water  in  which  it  was  immersed  to  soften  the  gelatine, 
was  too  high.  Or,  if  the  print  had  been  left  too  long  in  the 
alum,  it  will  have  the  same  effect. 

Remedy. — The  remedies  to  overcome  these  difficulties 
suggest  themselves. 

17.  Failure. — Pictures  developed  in  the  vertical  tank  are 
covered  with  froth  causing  tiny  little  white  specks. 

Cause. — Sometimes  rvater  passing  through  certain  kinds 
of  heaters  by  direct  pressure,  is  filled  with  air;  this  gathers 
in  minute  little  air-bells  upon  the  face  of  the  film  and  gives 
rise  to  this  trouble. 

Remedy. — Pass  the  water  through  some  kind  of  a filter 
— chamois  or  fine  muslin  will  do.  Or  see  that  it  contains 
no  air. 

POOR,  WEAK,  SUNKEN-IN,  ELAT  OR  GREY  PRINTS. 

Most  usually  result  from  negatives  poor  in  cjuality. 

Like  in  the  silver  process,  a good  negative  with  lots  of 
snap  will  produce  a vigorous,  fine-colored  print,  and  a weak 
lifeless  negative  will  make  a poor  grey  print. 

The  latter  only  occurs  with  the  student  or  beginner ; of 


The  Modern  Methods  op  Carbon  Printing. 


213 


course,  the  expert  can  tell  at  a glance  when  he  sees  a nega- 
tive, what  to  do,  to  get  the  best  possible  results.  For  weak, 
flat  negatives  in  proper  hands,  can  be  made  to  yield  good 
prints; 

CONDITIONS  OF  PFRMANFNCY. 

Fading  and  deterioration  is  as  likely  to  occur  with  pig- 
ment pictures  as  with  any  other  make.  As  a rule,  they 
are  considered  permanent,  which  they  certainly  are  if  the 
pigments  employed  are  not  of  a perishable  nature. 

Gelatine,  which  is  very  extensively  employed,  in  the  pro- 
cess, is  a durable  substance,  especially  when  endurated  or 
hardened  with  alum. 

The  coloring  matter  that  enters  into  the  make-up  of  car- 
bon tissue  is  chiefly  composed  of  pure  carbon  or  lamp  black, 
and  is  probably  the  most  imperishable  substance  employed 
as  a coloring  matter,  in  photography.  Most  of  the  pigments 
used  as  coloring  matter,  are  just  as  permanent,  and  for 
this  reason,  carbon  pictures  may  be  regarded  as  abso- 
lutely permanent  as  far  as  the  coloring  matter  is  con- 
cerned, unless  some  of  the  other  constituents  of  the  tissue 
are  of  poor  and  umstable  quality.  In  the  majority  of  cases, 
fading  and  deterioration  is  plainly  traceable  to  carelessness 
or  lack  of  understanding  on  the  part  of  the  operator.  If  he 
neglects  to  thoroughly  eliminate  all  traces  of  bichromate 
from  the  film  or  support,  fading  is  sure  to  follow. 

A very  strong  solution  of  alum,  will  materially  affect 
the  print,  and  if  not  thoroughly  eliminated  from  the  sup- 
port, will  ultimately  bring  ruin  to  the  picture. 

Some  pigments  are  effected  by  acids,  and  others  by  alka- 
lies ; therefore  all  the  conditions  pertaining  to  permanency 
must  be  studied  and  applied  to  good  advantage  to  obtain  the 
best  results. 


214 


The  Modern  Methods  of  Carbon  Printing 


Pert  V. 


THE  APPENDIX 


CHAPTER  I. 

CARBON  TISSUE. — HOW  MADE^  AND  THE  MATERIALS  RE- 
QUIRED IN  ITS  MANUFACTURE. — THE  MANUFACTURE 
OF  CARBON  TISSUE  IN  THE  STUDIO. 

Of  the  vast  amount  of  carbon  tissue  annually  consumed 
in  this  country,  75  per  cent  is  of  foreign  manufacture. 

Some  years  ago  a firm  in  Boston  ventured  into  the  man- 
ufacture of  carbon  tissue  in  this  country,  but  for  lack  of 
encouragement,  and  the  incongruities  of  the  carbon  process, 
at  that  time,  it  was  again  abandoned. 

Notwithstanding,  that  there  is  now  a plentiful  supply  of 
excellent  carbon  tissue  on  the  market,  it  will  nevertheless 
stand  the  wide-awake  and  up-to-date  carbon  printer  in  hand 
to  be  perfectly  familiar  with,  and  fully  understand  its  manu- 
facture, as  well  as  its  use. 

For  that  reason,  and  for  the  sake  of  completeness,  I will 
give  a full  and  lucid  description  of  the  entire  process  of 
manufacturing  all  kinds  of  pigment  or  carbon  tissue  in  the 
studio. 

Before  proceeding  to  describe  the  actual  manufacture  of 
the  tissue,  however,  a little  preliminary  explanation  regard- 
ing the  different  constituents  that  enter  into  its  make-up,  will 
here  not  be  out  of  place. 


The  Modern  Methods  of  Carbon  Printing. 


215 


In  the  first  place,  the  paper  used  for  this  purpose  should 
be  rather  tough,  with  an  even  smooth  surface  texture,  and 
contain  very  little  size,  to  be  easily  permiable  by  water. 

The  gelatine  is  probably  the  most  important  factor  in  the 
manufacture  of  a good  carbon  tissue.  There  are  several 
varieties  of  hard  and  soft  gelatine  especially  suited  for  this 
purpose,  on  the  market;  of  these.  Nelson,  No.  i,  is  probably 
the  best;  it  is,  however,  too  readily  soluble  and  for  that 
reason  must  be  mixed  with  a hard  gelatine,  such  as  Coig- 
nets  or  Winterthur.  If  a tough  film  is  desired,  an  addi- 
tion of  lo  to  20  per  cent  of  a good  isinglass  (Astrakhan 
Leaf  ),  must  be  added.  Some  of  the  soft  gelatines,  and  es- 
pecially the  American  makes,  are  too  freely  soluble  in  warm 
water,  and  if  employed  in  the  manufacture  of  tissue,  the  re- 
sulting pictures  will  be  weak  and  faded  in  appearance ; and 
especially  in  the  hot  days  of  summer,  such  tissue  will  y’dd 
very  inferior  results. 

On  the  other  hand,  if  the  gelatine  is  too  hard  and  prob- 
ably contains  considerable  alum,  the  tissue  will  be  spar- 
ingly soluble  and  it  will  consequently  be  impossible  to  ob- 
tain satisfactory  results.  The  pictures  will  be  heavy  and 
veiled — and  very  flat. 

A gelatine  suitable  for  carbon  tissues  should  absorb  from 
12  to  i8  times  its  weight  of  cold  water  in  24  hours;  if  it 
absorbs  less,  it  is  not  so  well  suited  for  the  purpose. 

There  are  some  makes  of  gelatine  that  contain  fatty 
substance,  which,  if  used  for  carbon  tissue,  will  be  very  in- 
jurious to  the  film,  causing  irregular  light  spots  upon  the 
pictures. 

Gelatine  and  pigment  alone,  would  make  a hard  and  very 
brittle  tissue;  therefore,  to  make  it  more  pliable,  we  must 
add  sugar,  soap  and  glycerine,  to  the  compound,  which  im- 


216 


The  Modern  Methods  op  Carbon  Printing. 


parts  to  it  the  different  qualities  necessary  to  make  a good 
tissue.  An  addition  of  sugar  is  recommended  by  most  man- 
ufacturers, but  it  must  be  used  with  judgment;  an  excess 
will  make  the  tissue  too  freely  soluble  and  very  brittle  in  dry, 
hot  weather. 

From  ten  to  twenty  per  cent  in  weight,  of  the  dry  gela- 
tine, will  be  the  proportion  to  use,  greatly  depending  upon 
the  purpose  for  which  it  is  intended. 

Glycerine  makes  the  tissue  very  pliable  and  if  used  in 
excess,  will  show  it  considerably  and  also  make  it  too  freely 
soluble,  causing  great  contrast,  and  loss  of  half  tones. 

A moderate  use  of  glycerine  makes  brilliant  prints,  with 
beautiful  whites,  and  may  be  used  to  good  advantage  on 
weak,  flat  negatives. 

An  addition  of  soap  to  a pigment  compound  causes  a bet- 
ter distribution  of  the  coloring  matter,  and  causes  the  gela- 
tine to  flow  more  evenly.  It  also  make  sthe  tissue  pliable, 
and  greatly  adds  to  its  solubilit}-.  Ten  per  cent  in  weight  of 
the  gelatine,  is  about  the  right  proportion  to  use.  Isinglass 
is  often  used  instead  of  soap ; besides  making  the  tissue  more 
soluble,  it  makes  a stronger,  tougher  film. 


The  Modern  Methods  of  Carbon  Printing. 


217 


CHAPTER  II. 


THE  CHOICE  OE  PIGMENTS  OR  COLORING  MATTER. 

choice  of  pigments,  or  coloring  matter,  in  the  man- 
nfacture  of  carbon  tissue,  is  of  the  utmost  import- 
ance; for  the  reason  that  richness  and  brilliancy  of  tone 
depend  nearly,  altogether  upon  the  brilliancy  and  colorific 
power,  as  well  as  stability  of  the  pigments  or  coloring  matter 
used. 

Unfortunately,  the  most  beautiful  and  brilliant  colors  of 
the  painter’s  palette,  are  the  most  fugitive,  and  the  ones 
that  should  be  the  most  carefully  avoided  in  pigment  print- 
ing, if  absolutely  permanent  pictures  are  desired. 

There  are,  however,  a great  variety  of  other  pigments 
available,  aside  from  the  unstable  ones ; that  may  be  safely 
employed  in  the  manufacture  of  carbon  tissue. 

With  these  and  their  combinations,  the  skillful  operator 
is  enabled  to  produce  the  most  charming  pictures,  in  a great 
variety  of  tones,  that,  for  richness  and  beautiful  color  effects, 
surpass  anything  that  has  even  been  attempted  by  any  other 
process. 

Cold,  or  dull  and  heavy  pigments,  should,  if  possible  be 
avoided ; they  make  dull,  lifeless  pictures ; with  a little 
warmth,  the  results  will  always  be  more  pleasing. 

Often  flatness  and  loss  of  vigor,  is  due  to  soluble  col- 
oring matter,  or  the  pigments  are  affected  by  the  action  of 
some  of  the  chemicals  used  in  the  process. 

We  will  take,  for  example,  ultramarine,  which  under 
ordinary  conditions  is  said  to  be  perfectly  permanent,  and 
is  often  referred  to  as  the  most  staple  of  all  the  blues. 


218 


The  Modern  Methods  op  Carbon  Printing. 


In  the  carbon  process  it  is  affected  by  a strong  alum  solu- 
tion and  in  the  presence  of  nitric  acid,  it  loses  its  beautiful 
blue  color,  leaving  an  earthy,  yellowish-grey  deposit. 

The  true  color  or  tone  of  a pigment  picture,  can  only 
be  seen  in  the  half  tones  or  middle  tints,  and  cannot  be 
judged  from  the  color  of  the  tissue  as  it  appears  before  de- 
velopment. 

The  commercial  carbon  tissue  now  obtainable,  embraces 
at  least  twenty-five  different  colors ; of  which  wann  black, 
engraving  black,  standard  brown,  sepia,  lambert-type  purple, 
sea  green  and  red  chalk,  are  the  most  used. 

For  the  benefit  of  those  who  are  not  familiar  with  the 
nature  and  properties  of  the  various  pigments,  I will  now 
give  a short  description  of  such  colors,  that  may  be  safely 
employed  in  the  manufacture  of  carbon  tissue. 

DESCRIPTION  OF  PIGMENTS. 

Lampblack. — This  is  mostly  a pure  vegetable  carbon 
of  fine  texture,  obtained  by  burning  resin  or  pine  pitch,  tur- 
pentine and  camphor.  Also  from  the  imperfect  combustion  of 
bone  oil  or  coal  tar.  It  is  not  so  intense  or  transparent  as 
ivory  black  and  much  less  brown  in  tone.  It  makes  a.  splen- 
did engraving  black  or  transparency  tissue. 

If  a cold  tone  is  desired,  add  indigo  or  cobalt  blue.  If 
warmth  is  wanted,  add  alizarin  or  Venetian  red. 

It  is  a dense  solid  color  and  should  be  used  sparingly.  It 
is  the  most  permanent  black  known,  and  is  used  extensively 
in  the  manufacture  of  india  ink  and  printer’s  ink. 

Ivory  Black. — This  is  a rich,  velvety  black,  of  a brownish 
tone.  It  is  obtained  by  calcining  ivory  in  a closed  crucible. 
Wfith  the  addition  of  a litle  blue  and  red  it  makes  a splen- 
did warm  black;  is  as  permanent  as  lampblack,  but  is  con- 
siderably more  expensive. 


The  Modern  Methods  of  Carbon  Printing. 


219 


Drop  Black. — Is  a good  black ; a little  colder  in  tone  than 
ivory  black ; is  much  cheaper,  and  is  perfectly  permanent. 

Frankfurt  Black. — (Blue  Black.)  This  is  made  of  char- 
coal and  calcined  prussian  blue;  also  burnt  vine-twigs  and 
cocoanut  shells.  Is  permanent. 

Venetian  Red,  or  Scarlet  Oehre. — This  is  an  oxide  of 
iron,  prepared  by  calcining  sulphate  of  iron  with  the  addition 
of  a little  nitric  acid.  The  result  is,  a peroxide  of  iron.  It 
is  considerably  stronger,  and  has  much  more  of  a scarlet  hue 
than  light  red,  is  considered  perfectly  permanent,  and  is  a 
eery  useful  color  in  preparing  the  different  shades  of  pig- 
ment tissue. 

Madder  Lake. — These  colors  are  extracted  from  the 
roots  of  the  Rubia  Tinctorum,  and  are  the  most  permanent  of 
the  lakes.  They  are  used  in  the  carbon  process  chiefly,  to  en- 
rich and  liven  up  other  pigments. 

Cobalt  Blue. — A silicate  of  cobalt  and  potassium,  or  a 
compound  of  cobalt  and  alumina.  This  is  a brilliant  blue, 
and  probably  the  most  permanent  of  all  the  blues. 

Ultramarine. — This  beautiful  color  is  made  of  silica 
alumina,  soda  and  sulphur.  It  mingles  well  with  all  the 
other  pigments  and  is  thoroughly  permanent,  providing  it 
does  not  come  in  contact  with  an  acid,  or  is  mingled  with 
acid  pigments.  Acid  solutions  of  every  kind  should  be  care- 
fully avoided  to  insure  pemanency.  A strong  alum  solution 
affects  the  color  of  artificial  ultramarine. 

India  Ink. — This  is  a fine  opaque  black  body  prepared 
of  shellac,  20  parts,  borax  40  parts,  refined  lampblack  in 
water,  80  parts. 

That  of  Chinese  manufacture  is  refined  lampblack  mixed 
with  oil  of  sesamum  (tilseed)  and  a little  camphor. 

In  the  carbon  process  it  is  chiefly  employed  in  the  manu- 


220 


The  Modern  Methods  of  Carbon  Printing. 


facture  of  transparency  tissue,  for  which  purpose  it  has.  no 
equal.  It  is  absolutely  permanent. 

Van  Dyke  Brozvn. — This  is  a deep  semi-transparent  pig- 
ment. With  the  addition  of  a little  alizarin  and  india  ink, 
it  makes  a fine  brown  tissue.  Is  permanent. 

Burnt  Umber. — Is  an  agreeable  olive-brown  color,  and 
is  perfectly  permanent. 

Sepia. — Sepia  is  the  ink  of  the  cuttle  fish,  consisting  of 
carbonaceous  particles,  and  animal  gelatine.  It  has  a trans- 
parent, dusky  brown  color.  The  addition  of  a little  burnt 
sienna  will  give  it  more  life.  It  is  a permanent  and  easy 
working  color. 

Bistre. — This  is  made  of  the  finer  parts  of  beechwood 
root,  and  is  extracted  by  a watery  solution.  It  has  an  in- 
tense citrine-brown  color  and  is  employed  for  sepia  tones. 
It  is  perfectly  permanent. 

Burnt  Sienna. — A reddish-brown  pigment  sometimes  em- 
ployed in  the  manufacture  of  sepia  tissue.  Is  considered 
permanent. 

Prussian  Blue. — A good,  powerful  and  yet  transparent 
pigment ; consisting  of  carbon,  nitrogen  and  iron ; it  is 
fairly  permanent,  but  not  as  much  so  as  cobalt  or  ultra- 
marine.  Mixed  with  gamboge,  it  makes  a permanent,  bright 
green  color. 

The  action  of  a strong  alkali  decomposes  it ; but  the  em- 
ployment of  hydrochloric  acid  will  again  restore  its  former 
color. 

Strong  light  will  weaken  its  color,  but  when  placed  in 
darkness  its  former  brilliancy  returns. 

Cohalt  Green. — This  color  is  a compound  of  zinc  and 
oxide  of  cobalt,  and  is  considered  perfectly  permanent. 

Terre  Verte. — Is  a perfectly  permanent  color  if  not  al- 
lowed to  come  in  contact  with  acids. 


The  Modern  Methods  op  Carbon  Printing. 


221 


The  preceding  list  of  pigments  are  the  most  desirable 
as  well  as  the  most  permanent  colors  of  the  painter’s  pal- 
ette, and  may  safely  be  employed  in  the  manufacture  of 
pigment  tissue. 

Any  of  the  above  colors  can  be  bought  finely  ground  and 
in  a moist  state,  contained  in  tubes  or  bottles  of  various  sizes. 


222 


The  Modern  Methods  of  Carbon  Printing. 


CHAPTER  III. 


the:  manufacture:  of  carbon  tissuf  in  thf  studio. 


HE  manufacture  of  carbon  tissue  has  assumed  quite 


extended  proportions  and  it  is  now  ftirnished  by  the 
makers  in  a uniform  and  most  excellent  quality. 

Some  of  these  tissues  possess  a very  high  degree  of  ex- 
cellence, which  for  rich  and  beautiful  coloring,  uniformity, 
and  fine  printing  qualities,  cannot  be  surpassed. 

While  the  manufacture  of  carbon  tissue  in  the  studio 
is  not  at  all  difficult,  it  must,  of  course,  not  be  expected  that 
an  amateur  or  professional  who  undertakes  to  make  a small 
batch  of  tissue,  could  equal  in  uniformity  and  quality  of 
fineness,  the  products  of  the  manufacturer  who  has  all  avail- 
able resources  at  his  command,  and  probably  possesses  the 
most  perfect  machinery  and  apparatus,  that  modern  skill  and 
ingenuity  can  produce. 

It  is  nevertheless  true,  however,  that  some  very  excellent 
tissue  can  easily  and  profitably  be  made  in  the  studio,  if  the 
instructions  given  in  this  treatise  are  strictly  adhered  to. 
Furthermore,  to  be  successful,  every  expert  carbon  printer 
ought  to  understand  perfectly,  and  should  be  thoroughly 
conversant  with  all  the  mechanical  details  as  well  as  chemi- 
cal manipulations  involved  in  the  process  and  manufacture 
of  carbon  tissue. 

It  will  prove  an  advantage,  not  only  in  familiarizing  him 
with  the  tissue  in  all  the  after  manipulations,  but  it  will 
enable  him,  to  at  once  locate  and  overcome  any  difficulty  that 
might  arise  at  any  stage  of  the  process. 


The  Modern  Methods  op  Carbon  Printing. 


223 


Where  carbon  printing  is  carried  on  extensively,  odd 
shades  are  often  in  demand;  not  being  obtainable  commer- 
cially, it  is  certainly  a great  advantage  if  the  operator  can 
produce  the  desired  article  in  the  studio.  Another  great  ad- 
vantage found  in  the  manufacture  of  pigment  tissue  in  our 
own  laboratories,  is  that  it  can  be  made  to  suit  any  class  of 
negatives  we  may  desire  to  print  from. 

For  instance,  if  we  wish  to  make  a tissue  that  will  yield 
a strong  brilliant  picture,  from  a thin  flat  negative,  it  is  only 
necessary  to  increase  the  quantity  of  coloring  matter,  or  re- 
duce the  thickness  of  the  translucent  film  composing  the 
tissue,  to  obtain  the  desired  effect. 

By  this  it  will  readily  be  seen,  that  by  making  a print 
upon  a paper  having  a thin  film  of  gelatine,  containing  an 
abundance  of  coloring  matter,  the  resulting  picture  will  be 
strong  and  brilliant,  with  vigorous  contrasts  and  perfect 
gradations,  impossible  to  obtain  with  tissue  not  suited  for 
that  class  of  negatives.  And  again  on  the  other  hand,  by 
preparing  a tissue  with  a thicker  or  more  translucent  film  of 
gelatine,  containing  less  coloring  matter,  hard  negatives 
with  excessive  contrasts,  may  be  made  to  yield  soft  and 
harmonious  prints. 

Thus  it  is  possible  by  judiciously  preparing  the  pigment 
compound , to  produce  a tissue  having  the  printing  qualities 
so  regulated  as  to  greatly  ameliorate  the  faults  and  imper- 
fections of  weak,  flat  negatives  and  those  that  possess  too 
much  contrast,  and  are  too  harsh  for  ordinary  printing 
methods. 

But  of  course,  in  view  of  all  these  possibilities,  it  should 
not  be  understood  or  expected,  that  the  results  obtained  by 
these  methods  would  be  equal  to  the  pictures  produced  from 
negatives  possessing  fine  gradations  or  first  class  printing 
qualities. 


224  The  Modern  Methods  of  Carbon  Printing. 

The  commercial  tissue  now  procurable,  is  manufactured 
in  a sensitive  and  insensitive  state.  Tissue  in  an  insensitive 
state  will  keep  indefinitely  if  stored  away  in  a dry,  cool  place, 
and  may  be  excited  or  made  sensitive  to  light  whenever 
desired  for  use. 

Sensitive  carbon  tissue  has  the  exciting  agent  incorpor- 
ated in  the  pigment  film  with  which  it  is  coated,  and  is  only 
obtainable  in  the  immediate  vicinity  of  the  factory,  on  ac- 
count of  its  rapid  deterioration,  especially  in  hot  weather. 
Its  keeping  qualities  are  limited  to  3 or  4 days  in  summer 
and  about  two  weeks  in  winter. 

This  tissue  will  yield  finer  results,  and  is  manipulated 
with  less  difficulty  than  that  which  is  made  sensitive  as 
required. 

It  is  therefore  advisable  to  purchase  tissue  whenever  it 
can  be  obtained,  in  a fresh  and  workable  state. 


The  Modern  Methods  of  Carbon  Printing. 


225 


chapter  IV. 


THE  GELATINE  COMPOUND. 

The  first  step  in  the  manufacture  of  carbon  tissue,  is 
to  prepare  the  preliminary  jelly,  as  it  is  called. 

The  following  are  a few  of  the  best  formulas  known,  and 
are  highly  recommended  by  all  who  have  tried  them. 

Gelatine  (medium)  loo  to  130  oz. 

Sugar  20  oz. 

Soap  •. 5 oz. 

Coloring  matter  3 to  6 oz. 

Water  400  c.  c.  m. 

The  proper  way  to  prepare  the  above  emulsion  is  to  put 
the  gelatine,  sugar  and  soap  into  the  cold  water  and  let  it 
soak  for  about  an  hour. 

During  this  time  the  gelatine  will  have  absorbed  enough 
water  to  soften  it,  and  it  will  dissolve  very  readily. 

Place  the  vessel  in  a water-bath  and  gradually  raise  the 
temperature  to  100*^  F.  When  it  has  all  dissolved,  stir  well 
to  mix  the  soap  and  sugar  with  the  gelatine,  and  pour  the 
solution  into  a vessel  tapering  towards  the  bottom.  Let  cool 
gradually,  to  allow  all  the  impurities  to  settle  to  the  bottom. 
When  cold,  drop  the  whole  mass  into  a clean  flat  dish  and  re- 
move the  sediment  that  gathered  at  the  bottom,  by  cutting 
it  away  with  a knife. 

The  gelatine  is  then  ready  to  be  incorporated  with  the 
pigment  or  coloring  matter. 

When  mixing  up  the  pigment  compound,  weigh  out  the 
coloring  matter,  and  in  a good  size  morter,  grind  it  well 
together  with  a little  warm  gelatine. 


226  The  Modern  Methods  op  Carbon  Printing. 

Then  melt  the  remaining  gelatine  and  gradually  pour  it 
into  the  pigment  mass,  in  the  morter,  and  thoroughly  mix ; 
then  filter  through  fine  muslin  and  the  compound  is  ready 
for  use. 

The  following  is  also  a very  fine  formula  for  preparing 


pigmented  gelatine : 

Water  (distilled)  25  ounces 

Gelatine  (Nelson’s  No.  i) 400  grains 

Gelatine  (Nelson’s  amber)  3000  grains 

Soap  (pure  white) 200  grains 

Sugar  I to  2 ounces 


Soak  the  gelatine  for  an  hour,  and  add  the  soap  and 
sugar,  and,  placing  the  mass  in  a water  bath,  dissolve  by 
gentle  heat. 

Mix  the  coloring  matter  with  a little  gelatine  to  the  con- 
sistency of  a thin  S}Hup  and  then  add  the  whole  to  the  gela- 
tine and  stir  well ; when  thoroughly  mixed,  filter  through 
fine  muslin  and  the  compound  is  ready  for  use. 

If  the  pigment  tissue  is  intended  for  immediate  use  it  is 
best  to  add  the  sensitizing  agent  to  the  compound.  To  the 
above  quantity  of  emulsion  add  300  gr.  bichromate  of  potash 
and  from  50  to  150  grains  of  crystallized  carbonate  of  soda. 

C.  P.  This  will  coat  a roll  of  paper  30  in.  by  12  ft.  long. 

MIXING  THE  PIGMENTS  OR  COLORING  MATTER. 

Any  tone  or  color  may  be  given  to  the  tissue,  and  the 
quantity  of  coloring  matter  regulated  to  suit  the  density  of 
the  negatives  to  be  printed  from.  Warm  black,  sepia,  pur- 
ple, standard  brown,  sea  green  and  red  chalk,  are  colors  that 
are  mostly  used  for  the  ordinary  run  of  studio  work;  all 
other  shades  are  intended  for  special  purposes,  and  are  only 
in  demand  at  times. 

The  pigments  or  coloring  matter  usually  employed,  are 


The  Modern  Methods  op  Carbon  Printing.  227 

finely  ground  water  colors,  put  up  in  tubes,  bottles  or  jars, 
in  a moist  state. 

These  pigments  when  fresh,  contain  about  one-half  their 
weight  in  water,  for  which  an  allowance  must  be  made  when 
used  for  coloring  carbon  tissue. 

WARM  BLACK. 

Lampblack  or  India  ink lOO  grains 

Burnt  umber  6o  grains 

Carmine  lake  94  grains 

Indigo  32  grains 

ENGRAVING  BLACK. 

Chinese  ink  or  lampblack 60  grains 

Indigo 30  grains 

Carmine  lake  64  grains 

SEPIA. 

Sepia  of  cologne 550  grains 

Lampblack  68  .grains 

DARK  BROWN. 

Lampblack 464  grains 

Indian  red  94  grains 

Carmine  lake  24  grains 

Vandyke  brown  64  grains 

Indigo  38  grains 

RED  BROWN. 

Vandyke  brown  125  grains 

Carmine  lake  156  grains 

India  ink  94  grains 

PHOTOGRAPHIC  BROWN. 

Chinese  ink  125  grains 

Indian  red  • 156  grains 

Carmine  lake  94  grains 

CHOCOLATE  BROWN. 

Lampblack 48  grains 

Alizarin  (dissolved  in  soda) 8 grains 

Peroxide  of  iron  (dry  hydrated) 32  grains 

Purpurine  8 grains 


228  The  Modern  Methods  of  Carbon  Printing. 

BLACK  TRANSPARENCY  TISSUE. 


Finest  liquid  India  ink i8o  grains 

Jelly  2 lbs. 


To  obtain  the  very  best  results,  dissolve  one  bottle  of 
India  ink  in  a quart  of  water  and  filter.  Then  evaporate  the 
water  and  mix  the  color  with  the  gelatine  as  previously 
directed. 

The  tissue  thus  obtained  will  yield  the  most  perfect  re- 
sult, when  employed  for  magic  lantern  slides  or  transparen- 
cies for  carbon  enlargements. 

The  exquisitely  fine  deposit  of  color  in  these  positives 
will  admit  of  enlargements  being  made,  of  quite  extended 
dimensions,  without  showing  the  least  particle  of  structure 
or  grain. 

RED  TR.\NSPARENCY  TISSUE. 

India  ink  64  grains 

Indian  red  90  grains 

Carmine  lake  ' 156  grains 

GRAPHITE  TISSUE. 

Pictures  printed  in  graphite  resemble  pencil  drawings, 
and  present  rather  a unique  appearance.  For  some  purposes 
they  give  very  pretty  and  artistic  effects. 

Grind  the  graphite  well  in  a little  glycerine  before  mix- 
ing with  the  jelly  compound. 


RED  CHALK. 

India  red  

Carmine  lake  

Lampblack  


156  grains 
90  grains 
50  grains 


WARM  SEPIA. 


Sepia  of  cologne 300  grains 

Burnt  sienna  100  grains 

Indian  red  50  grains 

Lampblack 50  grains 


The  Modern  Methods  of  Carbon  Printing. 


SE\  GBEEN. 

Chrome  green  

Cobalt  blue  

India  ink  


200  srains 
lo  grains 
50  grains 


ITAKINE  BLUE. 

Frankfurt  blue  100  grams 

Alizarin  15  grains 

India  ink  50  grains 

TISSUE  FOR  TEANSP.ARENCIES  _\ND  EtXTESN  SLIDES. 

Gelatine  (Nelson's  No.  i) 5 oz. 

Winterthur  gelatine  if  oz. 

Rock  candy 3 oz. 

White  castile  soap 2 oz. 

Distilled  water 100  oz. 


Allow  the  gelatine  to  stand  in  the  cold  water  for  about 
an  hour,  then  add  the  soap  and  candy  and  dissolve  in  a water 
bath,  by  gentle  heat.  \\*hen  dissolved  add  the  coloring  mat- 
ter in  the  usual  way ; mix  and  filter  through  muslin. 

To  the  above  gelatine  add  the  follo%\-ing  proportions  of 


coloring  matter : 

Black. — Chinese  ink 16  parts 

Vandyke  brown  2 parts 

Venetian  red  2 pans 

Violet  Black. — India  ink  20  pans 

Indigo 2 pans 

Carmine  lake  i pan 

Purple. — Chinese  ink  f pans 

India  red  5 pans 

Burnt  umber  f pans 

Indigo I pan 

To  prepare  the  pigment  compound,  take  of  the  above 
gelatine  30  parts,  coloring  matter  i part.  Coat  at  about 
95°  F- 


The  following  formula  is  used  by  one  of  the  most  promi- 
nent carbon  printing  establishments  in  Germany  : 


230  The  Modern  Methods  of  Carbon  Printing. 


Gelatine  (Nelson’s  No.  i) 75  parts 

Gelatine  (hard)  25  parts 

Pure  white  soap 5 parts 

Rock  candy  25  parts 

Water  (distilled)  300  parts 

Coloring  matter  3 to  5 parts 


In  a very  dry  atmosphere  add  5 parts  of  glycerine  in- 
stead of  the  soap. 

As  a coloring  matter  add  any  of  the  compounds  given  in 
the  foregoing  chapter.  The  proportions  depend  somewhat 
upon  the  density  of  the  negatives  to  be  printed  from ; if  thin 
and  delicate,  add  the  full  5 parts ; and  if  dense  and  contrasty 
add  less. 

There  must  be  enough  pigment,  however,  to  make  the 
film  look  quite  opaque  when  coated  on  white  paper. 

If  the  above  tissue  is  intended  to  be  used  up  in  from 
three  to  six  days  in  summer,  and  from  six  to  ten  days  in 
winter,  it  is  advisable  to  add  the  sensitizing  agent  to  the 
pigment  compound,  and  thus  save  the  extra  trouble  of  sen- 
sitizing and  again  drying  the  tissue. 

For  the  above  amount  of  gelatine,  dissolve  5 parts  of 
bichromate  of  pdtash  in  50  parts  of  water  to  which  add  about 
70  grains  of  carbonate  of  soda,  and  filter.  The  tissue  pre- 
pared in  this  manner,  makes  stronger  and  more  brilliant 
prints  than  when  coated  in  an  insensitive  state,  and  after- 
wards immersed  in  a bichromate  solution. 

white;  tissue. 

A white  tissue  may  be  prepared  by  mixing  zinc  white, 
flake  white  or  Chinese  white  with  the  gelatine  in  place  of  col- 
oring matter. 

This  tissue  may  be  used  for  various  purposes.  The  best 
results  are  obtained  on  dark  red,  purple  or  black  supports, 
and  printed  from  a positive  instead  of  a negative. 


The  Modern  Methods  of  Carbon  Printing. 


231 


Gelatine  (medium)  20  oz. 

Sugar  10  oz. 

Glycerine  i c.  c.  m. 

Sulphate  of  barium  (neutral)  

Water  200  c.  c.  m. 


The  sulphate  of  barium  must  be  in  a neutral  state  and 
enough  added  to  make  quite  a heavy  deposit.  AVhen  ready 
to  coat,  add  20  c.  c.  m.  of  a 10  per  cent  solution  of  bichro- 
mate of  potash. 

For  soft  delicate  details,  coat  at  a low  temperature  and 
cause  the  gelatine  to  set  as  c[uickly  as  possible  and  for  strong 
contrasts,  coat  the  paper  while  the  gelatine  is  warm,  and 
let  set  slowly. 

This  tissue  is  especially  adapted  for  pictures  of  statuary 
— printed  from  positives.  Printing  this  tissue  an  actinome- 
ter  is  superfluous,  the  print  is  visible  in  a brown  tone  on  a 
yellow  ground.  Development  takes  place  in  the  usual  way. 

pocYCHROMq  tissue;. 

A pigment  tissue  that  produces  rather  striking  effects,  is 
composed  of  one  or  more  layers  of  pigmented  gelatine,  each 
layer  being  of  a different  tone  or  color.  Quite  a variety  of 
combinations  may  be  made,  but  for  general  effects  black 
and  sepia,  or  black  sepia  and  red,  are  good  combinations. 

For  landscapes  or  views,  sepia,  green  and  blue,  give  very 
artistic  and  beautiful  effects.  The  blue  being  the  top  layer, 
covers  the  lights,  the  green,  the  middle  distance  and  lighter 
parts  in  the  foreground  and  the  sepia  the  darker  parts  such 
as  the  trunks  of  trees,  rocks,  and  deep  shadows,  etc. 

A careful  printer  can  produce  some  very  beautiful  effects, 
and  if  skilled  with  brush  and  color  can  produce  pictures  that 
are  truly  beautiful.  A similar  process  was  patented  by 
Baumgartner  in  1882  and  by  Corwin  Gitchell  of  San  Fran- 


232  The  Modern  Methods  of  Carbon  Printing. 

cisco  in  1896.  These  tissues  are  not  obtainable  commer- 
cially, but  may  be  made  in  the  studio  to  suit  any  purpose. 

The  process  of  Corwin  Gitchell  probably  produces  the 
most  novel  effects.  Being  a modification  of  the  carbon  or 
pigment  process,  it  consists  in  the  use  of  a multiple  colored 
pigment  tissue,  having  the  pigments  or  coloring  matter  strat- 
ified or  arranged  in  three  distinct  layers  or  strata,  according 
to  the  effect  desired  to  produce.  The  printing,  transfer  and 
development  of  this  style  of  tissue  is  done  in  exactly  the  same 
manner  as  the  ordinary  carbon  tissue.  In  the  resulting  print, 
those  portions  which  correspond  to  the  ver}^  dense  part  of 
the  negative  will  appear  in  the  color  of  the  upper  stratum^ 
while  those  that  rank  next  in  density,  will  assume  the  color 
of  the  next  stratum  of  pigment  below,  etc.  For  an  illus- 
tration, we  will  take  for  instance,  a landscape  tissue,  which 
is  composed  of  three  stratified  layers  of  pigment,  blue,  green 
and  brown. 

The  sky,  being  the  denser  part  of  the  negative,  will  only 
allow  the  light  to  penetrate  to  the  upper  strata,  which  is  blue ; 
the  foliage  which  is  next  in  density  will  be  penetrated  to  the 
second  strata  which  is  green ; and  the  trunks  of  trees,  rocks 
and  all  deep  shadows  will  be  penetrated  to  the  third  or  brown 
strata.  The  half-tones  of  the  upper  strata  will  be  blue- 
green,  and  in  the  lower  stratas  an  olive  gray;  which  pro- 
duces a pleasant  harmony  of  effects. 

A tissue  suitable  for  sunset  or  moonlight  effects,  is  com- 
posed of  two  layers  of  pigments,  a purple  or  indigo  with  a 
dark  brown  below. 

The  support  or  transfer  paper  used  for  this  style  of  tissue 
may  be  tinted  according  to  the  effect  desired  to  produce,  thus, 
for  a sunset  or  sunrise,  it  may  be  a pink  or  an  orange,  which 
gives  beautiful  mellow  effects  in  the  bright  lights,  and  a va- 
riety of  grays  in  the  half-tones  and  darker  shades.  Thus  a 


The  Modern  Methods  op  Carbon  Printing. 


233 


great  variety  of  effects  can  be  produced  with  the  use  of  these 
tinted  grounds. 

A variety  of  tissue,  suitable  for  portraiture  may  be  pro- 
duced according  to  the  color  effects,  desired. 

One  style  of  tissue  produces  a light  brown  or  pink  in 
the  high-lights ; which  passes  through  several  shades  of 
brown  and  finally  into  a deep  velvety  black,  in  the  shadows. 
This  style  of  tissue  gives  a peculiar  depth  to  the  shadows  im- 
possible to  produce  by  any  other  method. 

The  effects  obtained  are  of  the  highest  artistic  value 
and  are  entirely  different  from  anything  ever  produced  by 
photographic  methods. 

The  character  of  the  results,  of  course,  depends  greatly 
upon  the  proper  selection  of  the  pigments,  and  the  ground 
upon  which  the  picture  is  transferred,  to  produce  certain 
effects. 


234 


The  Modern  Methods  op  Carbon  Printing. 


chapter  VI. 


PREPARING  THE  pigment  COMPOUNDS. 

* I ^HE  best  and  most  expedient  way  to  mix  pigment  com- 
pounds,  is  to  grind  the  coloring  matter  in  about  three 
ounces  of  warm  jelly  and  when  well  mixed,  melt  the  remain- 
ing jelly  and  stir  it  into  the  three  ounces  containing  the 
pigments;  now  thoroughly  mix  and  filter  through  muslin, 
and  the  compound  is  ready  for  use. 

For  mixing  pigment  compounds  in  large  quantities,  a 
suitable  paint  mill  or  mixer  should  be  employed. 

PROPORTIONS  OE  COEORING  MATTER. 

The  exact  proportions  of  coloring  matter  to  use,  depends 
considerably  on  the  opacity  and  colorific  power  of  the  pig- 
ments employed,  as  well  as  the  intensity  of  color  sought  for. 

For  tissue  to  use  upon  ordinary  negatives  and  for  no 
special  purpose,  a drop  of  pigmented  gelatine  upon  a white 
piece  of  paper  should  appear  quite  opaque ; if  not,  add  more 
color.  Most  carbon  printers  prefer  to  use  pigments  that  are 
inert  or  perfectly  insoluble. 

When  a soluble  coloring  matter  is  employed,  the  prints 
should  not  be  treated  to  a prolonged  washing  or  soaking ; or 
there  will  be  a loss  of  brilliancy,  and  the  prints  will  look  flat 
and  faded.  For  negatives  of  good  printing  qualities,  about 
two  per  cent  of  carbon  will  be  a good  reliable  proportion 
to  use.  It  will  be  well  to  here  again  mention  the  fact  that 
the  real  or  actual  color  of  a tissue  is  chiefly  seen  in  the  half- 
tones and  lighter  parts  of  the  picture ; and  that  it  is  cqiite  dif- 
ficult to  distinguish  the  tone  or  color  in  the  darker  shades,  es- 
pecially in  the  blacks. 


The  Modern  Methods  op  Carbon  Printing. 


235 


Also,  that  an  increase  of  color,  will  add  vigor  and  con- 
trast to  pictures  printed  from  weak  negatives ; and  a de- 
crease of  color,  gives  softness,  where  harsh  contrasty  nega- 
tives are  employed. 

COMPOUND  POR  SPNSITIVP  TiSSUp. 

In  preparing  a sensitive  pigment  compound  the  sensitiz- 
ing agent  must  be  incorporated  into  the  pigmented  gelatine 
just  before  coating  the  paper. 

For  tissue  to  be  used  on  ordinary  negatives,  about  one 
part  of  a saturated  solution  of  bichromate  of  potash  to  ten 
parts  of  the  gelatine  compound  will  be  found  a good,  reliable 
proportion. 

A compound  having  a large  proportion  of  sensitizer  is 
proportionately  more  rapid  and  is  better  suited  for  hard,  con- 
trasty negatives ; but  is  considerably  more  difficult  to  man- 
age. Tissue  of  that  order  works  best  when  about  two  days 
old. 

A compound  with  a small  amount  of  sensitizer  will  make 
a slow  tissue,  which  is  easily  handled  and  is  best  suited  for 
weak  negative.  Works  best  when  fresh. 


236 


The  Modern  methods  of  Carbon  Printing. 


CHAPTER  VII. 


COATING  THE  PAPER  WITH  PIGMENTED  JELLY. 

' I 'O  APPLY  a unifomi  coating  of  pigmented  gelatine  of 
a given  thickness  over  a sheet  of  paper,  is  usually  re- 
garded as  a somewhat  difficult  operation  which  it  certainly 
is,  if  a clumsy  or  improper  mode  of  working  is  adopted.  But, 
if  the  proper  methods  are  employed,  it  will  be  found  surpris- 
ingly simple  and  easy;  and  one  fair  trial  will  serve  to  over- 
come all  hesitation  and  backwardness,  usually  found  among 
the  uninitiated,  and  will  convince  the  most  skeptical  that  a 
batch  of  splendid  tissue,  may  be  coated  in  less  time  than  it 
takes  to  explain  the  process. 

The  success  of  the  coating  operations  depends  greatly 
upon  the  consistency  of  the  gelatine  compound. 

If  the  temperature  is  too  high,  a thin  and  insufficient 
coating  will  be  the  result ; in  which  case  it  must  be  repeated 
when  the  previous  coating  is  dry,  or  the  tissue  would  be 
useless. 

If  the  temperature  is  too  low,  it  will  be  hard  to  obtain  an 
e\  en  coating,  and  the  compound  ivill  be  otherwise  difficult 
to  manage. 

If  the  temperature  is  maintained  at  about  90®  Fahrenheit, 
and  the  room  properly  warm,  the  coating  will  be  done  with- 
out the  least  difficulty.  In  order  to  make  the  film  set  quickly 
it  must  be  put  in  a cool  room  immediately  after  coating. 

Probably  the  most  simple  method  of  coating  paper  with 
a pigmented  jelly  is  the  following:  Immerse  a clean,  flat 

sheet  of  glass  into  a tray  of  warm  water;  then  immerse  a 


The  Modern  Methods  of  Carbon  Printing.  237 

sheet  of  paper  just  a little  smaller  than  the  glass  into  the 
same  tray.  When  the  paper  has  expanded  bring  it  in  con- 
tact with  the  hollow  side  of  the  glass  and  place  it  upon  a 
perfectly  level  surface;  then  immediately  cover  it  with  a 
lintless  blotter  and  bring  the  paper  into  perfect  contact  with 
the  glass,  and  while  the  paper  and  glass  is  still  warm,  care 
fully  pour  on  a pool  of  the  pigment  compound  and  immedi- 
ately spread  it  over  the  entire  surface  as  evenly  as  possible 
with  a strip  of  glass.  If  any  air-bells  appear  quickly  draw 
them  to  the  side  while  the  jelly  is  in  a fluid  state,  but  never 
attempt  it  after  it  has  set. 

Place  the  plate  and  pigment  paper  on  a cool,  level  sur- 
face until  the  gelatine  has  set ; when  the  paper  may  be  hung 
up  to  dry.  This  is  done  by  attaching  thin  slats  of  wood 
at  top  and  bottom  with  photo-clips  and  hanging  it  on  a 
tightly-drawn  line  or  wire  until  dry. 

Another  method  of  coating  pigment  paper,  which  is 
probably  a little  more  expedient  than  the  former,  is  as  fol- 
lows : First  sponge  the  paper  with  clean,  cold  water,  and 

place  one  sheet  over  the  other ; then  with  the  roller  squeegee 
and  a heavy  blotter  remove  all  superfluous  moisture,  cover 
with  a clean  sheet  of  glass  and  let  rest  for  about  an  hour. 


COATING  TRAY. 


238  The  Modern  Methods  of  Carbon  Printing. 

A double  coating  tray  made  of  tin  and  constructed  like 
the  accompanying  illustration  will  be  found  a very  handy 
arrangement  for  the  purpose. 

Pour  the  gelatine  mixture  into  the  small  tray,  and  fill  the 
lower  one  with  warm  water,  and  place  a small  gas  stove 
underneath  to  keep  up  a uniform  temperature. 

To  coat,  roll  up  the  paper  the  narrow  way,  and  carefully 
placing  it  upon  the  solution,  take  a hold  of  the  corners  oppo- 
site and  immediately  begin  to  pull  it  with  an  even  upward 
motion,  without  stopping  until  the  whole  sheet  unrolls  itself 
and  is  pulled  from  the  solution.  If  the  temperature  of  the 
pigmented  jelly  was  right  to  gii'e  it  the  proper  consistency 
to  hold  the  paper  in  proper  contact,  it  will  be  pulled  from  the 
solution  with  a smooth,  even  coating,  and  the  film  will  be 
sufficiently  heavy;  should  it  not  be  heavy  enough,  however, 
repeat  the  operation  when  the  first  film  is  dry. 

Place  the  coated  paper  upon  a clean,  level  surface,  in  a 
cool  room  until  set ; then  place  in  a moderate  temperature 
where  it  is  dry  and  the  air  stirring,  to  cause  a more  rapid 
evaporation.  Under  favorable  conditions,  the  paper  will  dry 
out  in  from  4 to  6 hours. 

For  the  manufacture  of  carbon  tissue  on  a more  ex- 
tended scale,  a machine  for  coating  bands  or  endless  rolls 
of  12  or  15  feet  in  length,  may  be  constructed,  as  shown 
in  the  illustration. 


The  Modern  Methods  op  Carbon  Printing. 


239 


The  upper  roller 
ought  to  be  about 
3^  inches  in  di- 
ameter; the  lower 
one  about  1^2  or 
2 inches.  The 
roller  in  the  cen- 
ter of  the  frame, 
held  by  brackets 
should  be  about 
2^4  inches  in  di- 
ameter. The  mid- 
dle roller  and  the 
small  one  that  car- 
ries the  paper  into 
the  emulsion,  must 
be  just  a little 
shorter  than  the 
width  of  the  pa- 
per, for  the  rea- 
son that  it  must 
not  be  allowed  to 
touch  the  solution, 
and  the  back  of 
the  paper  is  kept 
clean.  The  pur- 
pose of  the  mid- 
dle roller  is  to 

keep  the  uncoated  side  of  the  paper  from  coming  in  contact 
during  coating  operations. 

Sometimes  a band  of  strong  muslin  is  stretched  over  the 
rollers  and  the  paper  mn  over  this ; but  it  is  hardly  neces- 
sary when  a good  quality  of  paper  is  being  used. 


COATING  MACHINE. 


240  The  Modern  Methods  op  Carbon  Printing. 

The  paper  is  cut  in  lengths  of  12  or  15  feet  and  passed 
around  the  rollers,  and  the  ends  cemented  together  to  make 
an  endless  roll. 

The  emulsion  tray  is  so  arranged  that  the  pigmented  gel- 
atine may  be  maintained  at  a given  temperature,  and  may  be 
raised  and  lowered  at  will. 

When  all  is  ready  the  crank  is  turned  with  a steady,  uni- 
form motion,  until  the  entire  band  of  paper  has  been  coated 
with  the  pigmented  gelatine.  At  this  juncture  the  paper  is 
raised  out  of  the  emulsion  tray  and  the  band  of  coated  paper 
is  kept  revolving  until  the  gelatine  has  set,  which  will  take 
but  a few  minutes. 

The  speed  of  the  rollers,  when  coating  the  paper  must 
be  airanged  in  accordance  with  the  consistency  of  the  gela- 
tine emulsion,  and  the  thickness  of  film  desired. 

The  slower  the  paper  passes  through  the  pigmented  gel- 
atine the  thinner  will  be  the  film,  and  the  faster,  the  heavier 
will  it  be. 

After  the  gelatine  has  set,  the  band  is  cut  through  and 
hung  up  on  a hanger  arranged  for  the  purpose  and  left  to 
dry.  The  drying  should  take  place  in  from  4 to  6 hours. 

The  time  occupied  in  drying  depends  to  a great  extent 
upon  the  thickness  of  the  pigment  film  and  its  composition. 

Soap,  sugar  and  glycerine  retard  the  drying ; also  some 
of  the  pigments  or  coloring  matter.  If  the  paper  is  left  ex- 
posed too  long  in  a dry  atmosphere,  the  film  will  become 
brittle  and  horny  and  quite  difficult  to  manage;  it  should 
therefore,  be  taken  down  when  quite  pliable. 

The  proper  time  to  take  it  down,  is  when  apparently  all 
the  moisture  has  disappeared,  and  before  it  begins  to  cockle 
and  curl  up. 

Cut  it  up  into  the  desirable  sizes  and  store  it  in  tin  pres- 


The  Modern  Methods  op  Carbon  Printing. 


241 


sure  lioxes,  where  it  will  remain  pliable,  and  in  good  work- 
ing condition,  indefinitely. 

To  preserve  rolls  or  large  sheets  of  tissue  place  a sheet 
of  soft  paper  over  the  face  of  the  film,  and  roll  it  face  out- 
ward around  a small  roller.  The  paper  will  protect  the  film 
from  injury  while  the  tissue  is  being  handled. 

If  the  roll  of  carbon  paper  is  placed  within  an  air-tight 
tin  receptacle,  it  will  remain  in  good  workable  condition  and 
may  be  cut  up  as  desired  for  use. 

\Valter  White  conceived  the  idea  of  coating  pigmented 
gelatine  upon  a non-actinic  surface,  such  as  red,  green,  yel- 
low or  black  paper,  which  when  sensitized,  is  squeegeed 
against  an  ebonite  or  ferrotype  plates,  where  it  is  left  to  dry. 

The  only  advantage  of  using  tissue  of  this  kind,  is  that 
it  may  be  dried  in  any  convenient  place  in  daylight,  and  the 
film  be  protected  from  dust  and  injurious  gases  as  well 
as  light. 

An  English  manufacturing  concern  purchased  Mr. 
White's  patent,  and  the  paper,  or  daylight  tissue  as  it  is 
called,  is  now  obtainable  commercially. 


242 


The  Modern  Methods  of  Carbon  Printing 


CliAPTER  VIII. 


A brikf  history  ot  thi;  carbon  process. 


T ^AUQUELIN,  in  1798,  discovered  chromium  and  chro- 
~ mic  acid;  and  observed  that  chromic  acid  and  silver, 
formed  a carmine  red  salt,  which  when  exposed  to  light, 
turned  to  a purple  red  color. 

Mungo  Ponton  is  supposed  to  have  known  of  Vauque- 
lin’s  discovery,  and  through  it,  was  led  to  observe  the  sen- 
sitive nature  of  bichromate  of  potash  when  spread  upon 
paper  and  exposed  to  light,  when  dry. 

In  1814,  Joseph  Nicephore  Niepce  discovered  the  action 
of  the  solar  rays  upon  certain  hydro-carbons,  which  were 
rendered  insoluble  wherever  they  had  been  exposed  to  the 
influence  of  light. 


In  1832,  Dr.  G.  Suckow,  of  Jena,  stated  that  bichromate 
of  potash  in  contact  with  organic  matter  was  reduced  by  the 
action  of  light,  to  a greenish  brown  color. 

In  1839,  Mungo  Ponton,  was  the  first  to  observe  the  ac- 
tion of  light  upon  sized  paper  impregnated  with  bichromate 
of  potash. 

M.  Becquerel  discovered  that  through  the  action  of  chro- 
mic salts,  organic  substances,  such  as  starch,  gum,  gelatine, 
etc.,  were  rendered  insoluble  when  exposed  to  the  influence 
of  light. 

In  1855,  M.  Poitevin  invented  the  first  real  carbon  pro- 
cess. He  found  that  when  a thick  solution  of  gelatine,  in- 
corporated with  a coloring  matter,  had  been  made  sensitive 
with  bichromate  of  potash,  and  exposed  to  the  action  of 
light,  it  was  rendered  partly  or  wholly  insoluble,  according 


The  Modern  Methods  op  Carbon  Printing. 


243 


to  the  penetrating  power  or  actinism  of  the  light  to  which 
it  was  exposed.  His  mode  of  development,  however,  was 
quite  impracticable  and  consequently  very  difficult  to  ac- 
complish. 

The  Abbe  de  Taborde,  of  France,  J.  C.  Burnette,  and 
M.  Blair,  of  Perth,  were  experimenting  on  the  same  plan, 
and  discovered  that  the  surface  of  the  pigmented  film  of  a 
sensitive  gelatine  tissue,  when  in  contact  with  a negative  and 
exposed  to  light,  became  wholly  insoluble;  and  that  the  in- 
solubility formed  upon  the  surface  of  the  film,  prevented  the 
warm  water  from  getting  to  the  soluble  portion  of  the  gela- 
tine on  the  back.  This  discovery  clearly  demonstrated  that 
in  order  to  obtain  pictures  having  deep  shadows  and  prop- 
erly graded  half-tones,  the  development  could  only  be  af- 
fected from  the  back  or  opposite  side. 

Shortly  afterwards,  M.  Fargier  invented  and  patented 
a process  by  which  could  be  accomplished  what  was  wanting 
in  M.  Poitevin’s  process.  It  consisted  in  coating  a glass 
plate  with  a sensitive  pigmented  gelatine,  which,  when  dry, 
was  exposed  to  the  action  of  light  under  a negative.  He  then 
coated  the  exposed  tissue  with  a tough  collodion  which,  when 
set,  was  plunged  into  warm  water;  the  warm  water  made 
soluble  the  unaffected  gelatine  in  contact  with  the  glass, 
which  left  the  picture  floating  in  the  water,  held  together 
by  the  collodion  film.  This  was  turned  over  and  brought 
gelatine  side-uppermost  upon  a piece  of  prepared  paper.  The 
resulting  pictures  were  thought  at  the  time,  to  be  exceedingly 
beautiful. 

The  gradations  and  delicate  half-tones  obtained  in  this 
manner,  surpassed  all  previous  efforts  in  carbon  printing. 
However,  owing  to  the  several  difficult  manipulations  in- 
volved in  this  process,  it  never  became  practicably  useful. 


244  The  Modern  Methods  op  Carbon  Printing. 

In  1864,  J.  W.  Swan,  of  England,  was  awarded  a patent 
on  a pigmented  tissue  and  the  use  thereof. 

His  mode  of  procedure  at  first  was  very  similar  to  M. 
Fargier’s,  in  so  far  that  it  consisted  in  coating  a collodionized 
glass  with  a pigmented  gelatine  compound  which,  when  dry 
was  stripped  from  the  glass,  and  thus  was  introduced  the 
first  carbon  tissue. 

The  invention  of  Mr.  Swan’s  tissue  marked  a very  im- 
portant epoch  in  the  history  of  the  carbon  process,  and  was 
followed  by  several  other  improvements  of  equal  importance. 

The  tissue  was  exposed,  collodion  side  in  contact  with 
the  negative,  which  allowed  the  application  of  warm  water 
to  the  soluble  gelatine  at  the  back,  and  the  developing  ma- 
nipulations were  most  conveniently  and  successfully  done. 
Yet  for  all  that  this  was  quite  a step  in  advance  of  the  meth- 
ods previously  employed,  it  was  apparent  from  the  start  that 
some  means  would  have  to  be  devised,  by  which  to  support 
the  film  during  development.  To  this  end  Mr.  Swan  made  a 
great  many  experiments,  and  finally  invented  a temporary 
support  made  of  stout  paper  coated  with  an  India  rubber 
solution,  and  at  the  same  time  coating  the  collodion  side  of 
the  tissue  with  the  same,  and  then  forcing  the  two  surfaces 
into  absolute  contact  by  putting  them  through  a press.  The 
tissue  supported  in  this  manner  by  the  India  rubber  paper, 
made  the  washing  away  of  the  soluble  portions  of  the  pig- 
mented gelatine  at  the  back  and  all  the  developing  manipu- 
lations comparatively  easy  to  perform.  The  resulting  pic- 
ture remained  on  the  rubber  film  in  relief,  with  all  the  fine 
detail  and  gradations  possible  to  obtain  from  the  negative 
employed. 

For  the  benefit  of  the  student  I will  give  the  patent  speci- 
fications of  Mr.  Swan’s  Carbon  Process. 


The  Modern  Methods  op  Carbon  Printing. 


245 


CHAPTER  IX. 


pati:nt  specification  of  swan's  carbon  process. 

IV/TY  INVENTION  relates  to  that  manner  or  style  of 
photographic  printing  known  as  carbon  or  pigment 
printing.  In  this  style  of  printing,  carbon  or  other  coloring 
matter  is  fixed  by  the  action  of  light  passing  through  a, nega- 
tive, and  impinging  upon  a surface  composed  of  gelatine,  or 
other  like  substance,  colored  with  carbon  or  other  coloring 
matter,  and  made  sensitive  to  light  by  means  of  bichromate 
of  potash,  or  bichromate  of  ammonia,  or  other  chemical  sub- 
stance having  like  photographic  property ; those  portions  of 
the  colored  and  sensitive  gelatinous  surface  which  are  pro- 
tected from  the  light  by  the  opaque  or  semi-opaque  portions 
of  the  negative,  being  afterwards  washed  away  by  means  of 
water,  while  the  parts  made  insoluble  by  light  remain,  and 
form  a print.  This  kind  of  photographic  printing,  although 
possessing  the  advantage  of  permanency,  and  affording  the 
means  of  insuring  any  required  tone  or  color  for  the  print, 
has  not  come  into  general  use,  because  of  the  difficulties  hith- 
erto experienced  in  obtaining  by  it  delicacy  of  detail,  and 
complete  gradation  of  light  and  shade. 

“The  difficulties  referred  to  were  more  particularly  ex- 
perienced in  attempts  to  employ  paper  coated  with  the  col- 
ored gelatinous  materials,  and  arose  from  the  fact,  that,  in 
order  to  obtain  half-tone,  certain  portions  of  the  colored 
coating  lying  behind  or  at  the  back  of  the  photographically- 
impressed  portions  required  to  be  washed  away,  and  the  em- 
ployment of  paper  in  the  way  it  has  been  employed  hitherto, 
not  only  as  a means  of  supporting  the  colored  coating,  but 


246  The  Modern  Methods  of  Carbon  Printing. 

also  to  form  ultimately  the  basis  or  groundwork  of  the  print, 
obstructed  the  removal  of  the  inner  or  back  portions  of  the 
colored  coating,  and  prevented  the  obtaining  of  half-tone. 

“Now,  my  invention  consists  in  the  formation  of  tissues 
adapted  to  the  manner  of  printing  referred  to,  and  composed 
of,  or  prepared  with,  colored  gelatinous  matter,  and  so  con- 
structed, that  while  they  allow,  in  the  act  of  printing,  free  ac- 
cess of  light  to  one  surface  of  the  colored  gelatinous  matter, 
they  also  allow  free  access  of  water,  and  the  unobstructed 
removal  of  the  non-aifected  portions  of  the  colored  matter, 
from  the  opposite  surface,  or  back,  in  the  act  of  developing ; 
and  I obtain  this  result  either  by  the  disuse  of  paper  alto- 
gether, or  by  the  use  of  it  merely  as  a backing  or  temporary 
support  of  the  colored  gelatinous  matter ; the  paper,  so  used, 
becoming  entirely  detached  from  the  colored  gelatinous  mat- 
ter in  the  act  of  developing,  and  forming  no  part  of  the 
print  ultimately. 

“My  invention  consists,  furthennore,  in  the  special  mode 
of  using  the  said  tissues,  whereby  superior  half-tone  and 
definition  in  the  print  are  obtained  as  afoi'esaid,  and  also  in 
a mode  of  transferring  the  print,  after  developing,  from  a 
temporary  to  a permanent  support,  so  as  to  obtain  a correc- 
tion in  the  position  of  the  print  in  respect  of  right  and  left. 
In  producing  the  photographic  tissues  referred  to,  I form  a 
solution  of  gelatine,  and  for  the  purpose  of  imparting  pli- 
ancy to  the  resultant  tissue,  I have  found  it  advisable  to  add 
to  the  gelatine  solution,  sugar  or  other  saccharine  matter,  or 
glycerine.  To  the  said  gelatinous  solution  I add  carbon- 
aceous or  other  coloring  matter,  either  in  a fine  state  of  divi- 
sion, such  as  is  used  in  water-color  painting,  or  in  the  state 
of  a solution  or  dye,  or  partly  in  a fine  state  of  division,  and 
partly  in  solution. 

“With  this  colored  gelatinous  solution  I form  sheets  or 


The  Modern  Methods  op  Carbon  Printing. 


247 


films  as  hereafter  described;  and  I render  such  sheets  or 
films  sensitive  to  light,  either  at  the  time  of  their  formation, 
by  introducing  into  the  gelatinous  compound  bichromate  of 
ammonia,  or  other  agent  of  like  photographic  properties,  or 
by  applying  to  such  non-sensitive  sheets  or  films,  after  their 
formation,  a solution  of  the  bichromate,  or  other  substances 
of  like  photographic  property.  This  latter  method  I adopt 
when  the  sheet  or  film  is  not  required  for  use  immediately 
after  its  formation.  I will,  in  my  future  references  to  the 
bichromate  of  ammonia  or  the  bichromate  of  potash,  or  to 
other  chemicals  possessing  analogous  photographic  proper- 
ties, denominate  them  ‘the  sensitizer/  and  in  referring  to  the 
colored  gelatinous  solution,  I will  denominate  this  mixture 
‘the  tissue-compound / When  the  tissue  to  be  produced  is 
required  for  immediate  use,  I add  the  sensitizer  to  the  tissue 
compound ; but,  where  the  tissue  is  required  to  be  preserved 
for  some  time  before  using,  I prefer  to  omit  the  sensitizer 
from  the  tissue-compound,  with  a view  to  the  tissue  being 
made  sensitive  to  light  subsequently,  by  the  application  of  a 
solution  of  the  sensitizer. 

“With  respect  to  the  composition  of  the  tissue-compound, 
it  will  be  understood  by  chemists,  that  it  may  be  varied  with- 
out materially  affecting  the  result,  by  the  addition  or  sub- 
stitution of  other  organic  matters,  similarly  acted  upon  by 
light,  when  combined  with  a salt  of  chromium,  such  as  I 
have  referred  to.  Such  other  organic  matters  are  gum  ara- 
bic,  albumen,  dextrine;  and  one  or  more  of  these  may  be 
employed  occasionally  to  modify  the  character  of  the  tissue- 
compound,  but  I generally  prefer  to  make  it  as  follows : I 
dissolve,  by  the  aid  of  heat,  two  parts  of  gelatine,  in  eight 
parts  of  water,  and  to  this  solution  I add  one  part  of  sugar, 
and  as  much  coloring  matter  in  a finely  divided  state,  or  in  a 
state  of  solution,  or  both,  as  may  be  required  for  the  produc- 


248  The  Modern  Methods  of  Carbon  Printing. 

tion  of  a photographic  print  with  a proper  gradation  of  light 
and  shade.  The  quantity  required  for  this  purpose  must  be 
regulated  by  the  nature  of  the  coloring  matter  employed,  and 
also  by  the  character  of  the  negative  to  be  used  in  the  print- 
ing operation.  Where  it  is  desired  that  the  coloring  matter’ 
of  the  print  should  consist  entirely  or  chiefly  of  carbon,  I 
prefer  to  use  lampblack  finely  ground  and  prepared  as  for 
water-color  painting,  or  I use  India-ink;  and  where  it  is 
desired  to  modify  the  black,  I add  other  coloring  matter  to 
produce  the  color  desired.  For  instance,  I obtain  a purple 
black  by  adding  to  the  carbon,  indigo  and  crimson-lake,  or  I 
add  to  the  carbon  an  aniline  dye  of  a suitable  color ; where 
the  coloring  matter  is  not  a solution  or  dye,  but  solid  matter 
in  a fine  state  of  division,  such  as  India-ink  or  lampblack,  I 
diffuse  such  coloring  matter  through  water,  or  other  inert 
liquid  capable  of  holding  it  in  suspension  ; and  after  allowing 
the  coarser  particles  to  subside,  I add,  of  that  portion  which 
is  held  in  suspension,  as  much  as  is  required,  to  the  gelatine 
solution.  In  preparing  tissue  to  be  used  in  printing  from 
negatives  technically  known  as  ‘weak,’  I increase  the  pro- 
portion of  coloring  matter  relatively  to  that  of  the  tissue- 
compound  ; and  I diminish  it,  for  tissue  or  paper  to  be  used 
in  printing  from  negatives  of  an  opposite  character. 

“Having  prepared  the  tissue-compound  as  before  de- 
scribed, I proceed  to  use  it  as  follows : For  preparing  sensi- 
tive tissue,  I add  to  the  tissue-compound  more  or  less  of  the 
sensitizer,  varying  the  quantity  added,  according  to  the  na- 
ture of  the  sensitizer,  and  to  the  degree  of  sensitiveness  to  be 
conferred  on  the  tissue  to  be  produced  from  it.  For  ordinary 
purposes,  and  where  the  tissue-compound  is  made  according 
to  the  formula  before  given,  I add  about  one  part  of  a satur- 
ated solution  of  bichromate  of  ammonia  to  ten  parts  of  th'' 
tissue-compound ; and  I make  this  addition  immediately 


The  Modern  Methods  of  Carbon  Printing. 


249 


previous  to  the  preparation  of  the  tissue,  and  I maintain  the 
tissue-compound  in  the  fluid  state,  by  means  of  heat,  during- 
the  preparation  of  the  tissue,  avoiding  the  use  of  an  unneces- 
sary degree  of  heat;  I also  filter  it  through  fine  muslin  or 
flannel,  or  other  suitable  filtering  medium,  previous  to  use; 
and  I perform  all  the  operations  with  the  tissue-compound, 
subsequent  to  the  introduction  of  the  sensitizer,  in  a place 
suitably  illuminated  with  yellow  or  non-actinic  light.  In 
forming  tissue  upon  a surface  of  glass,  I first  prepare  the 
glass,  so  as  to  facilitate  the  separation  of  the  tissue  from  it. 
For  this  purpose,  I apply  ox-gall  to  the  surface  of  the  glass 
(by  means  of  a brush,  or  by  immersion),  and  allow  it  to 
dry.  The  glass  is  then  ready  for  coating  with  the  tissue-com- 
pound, or  I apply  to  the  glass  a coating  of  collodion,  previous 
to  the  application  of  the  coating  of  tissue-compound.  In 
this  case,  the  preparation  with  ox-gall  is  unnecessary.  When 
collodion  is  used,  the  collodion  may  consist  of  about  ten 
grains  of  pyroxyline  in  one  ounce  of  mixture  of  equal  parts 
of  sulphuric  ether  and  alcohol.  I apply  the  collodion  by  pour- 
ing it  on  the  surface  to  be  coated,  and  draining  off  the  excess 
and  I allow  the  coating  of  collodion  to  become  dry  before 
applying  the  coating  of  tissue-compound.  I generally  use  a 
plane  surface  on  which  to  form  the  tissue,  but  surfaces  of  a 
cylindrical  or  other  form  may  sometimes  be  used  advantage- 
ously. In  preparing  sheets  of  sensitive  tissue  on  a plane 
surface  of  glass,  I prefer  to  use  the  kind  of  glass  known  as 
plate,  or  patent  plate.  Before  applying  the  sensitive  tissue- 
compound,  I set  the  plate  to  be  coated,  so  that  its  upper  sur- 
face lies  in  a horizontal  position,  and  I heat  the  plate  to  about 
the  same  temperature  as  the  tissue-compound,  that  is,  gen- 
erally, to  about  loo  degrees,  Fahrenheit.  The  quantity  of 
the  tissue-compound  that  I apply  to  the  glass  varies  with 
circumstances,  but  is  generally  about  two  ounces  to  each 


250  The  Modern  Methods  op  Carbon  Printing. 

square  foot  of  surface  coated.  After  pouring  the  requisite 
quantity  of  the  tissue-compound  upon  the  surface  of  the 
plate,  I spread  or  lead  the  fluid  by  means  of  a glass  rod  or 
soft  brush,  over  the  entire  surface,  taking  care  to  avoid  the 
formation  of  air-bubbles;  and  I keep  the  surface  in  the 
horizontal  position,  until  the  solidification  of  the  tissue-com- 
pound. In  coating  other  than  plane  surfaces,  I vary,  in  a 
suitable  manner,  the  mode  of  applying  the  tissue-compound 
to  such  surfaces.  In  coating  a cylindrical  surface,  I rotate 
the  cylinder  in  a trough  containing  the  tissue-compound, 
and  after  having  produced  a uniform  coating,  I remove  the 
trough,  and  keep  up  a slow  and  regular  rotation  of  the  cyl- 
inder until  the  coating  has  solidified.  After  coating  the  sur- 
face of  glass  or  other  substance  as  described,  I place  it  in  a 
suitable  position  for  rapid  drying,  and  I accelerate  this  pro- 
cess by  artificial  means,  such  as  causing  a current  of  dry  air 
to  pass  over  the  surface  coated,  or  I use  heat,  in  addition  to 
the  current  of  air,  or  I place  it  in  a chamber  containing  quick- 
lime, chloride  of  calcium,  or  other  substance  of  analogous 
desiccating  property.  When  the  tissue  is  dry,  I separate  it 
from  the  surface  on  which  it  was  formed,  by  making  an 
incision  through  the  coating  to  the  glass,  around  the  margin 
of  the  sheet ; or  I cut  through  the  cylindrical  coating  near 
the  ends  of  the  cylinder,  and  also  cut  the  coating  across,  par- 
allel with  the  axis  of  the  cylinder,  when,  by  lifting  one  comer 
the  whole  will  easily  separate  in  a sheet.  When  the  tissue- 
compound  is  applied  over  a coating  of  collodion,  the  film, 
produced  by  the  collodion,  and  that  produced  by  the  tissue- 
compound,  cohere,  and  the  two  films  fonn  one  sheet.  Some- 
times, before  the  separation  of  the  coating  from  the  glass,  I 
attach  to  the  coating  a sheet  of  paper,  for  the  purpose  of 
strengthening  the  tissue,  and  making  it  more  easy  to  manip- 
ulate. I generally  apply  the  paper,  in  a wet  state,  to  the  dry 


The  Modern  Methods  op  Carbon  Printing. 


251 


gelatinous  surface;  and  having  attached  the  paper  thereto 
in  this  manner,  I allow  it  to  dry ; and  I then  detach  the  film 
and  adherent  paper  from  the  glass,  by  cutting  around  the 
margin  of  the  sheet,  and  lifting  it  off  as  before  described. 
Where  extreme  smoothness  of  surface,  such  as  is  produced 
by  moulding  the  tissue  on  glass,  as  described,  is  not  of  im- 
portance ; and  where  greater  facility  of  operation  is  desired, 
I apply  a thick  coating  of  the  tissue-compound  to  the  surface 
of  a sheet  of  paper.  In  this  case,  the  paper  is  merely  used 
as  a means  of  forming,  and  supporting  temporarily,  the  film 
produced  from  the  tissue-compound;  and  such  paper  sepa- 
rates from  the  gelatinous  coating  in  a subsequent  stage  of 
my  process.  In  coating  a surface  of  paper  with  the  sensitive 
tissue-compound,  I apply  the  sheet,  sometimes  of  consider- 
able length,  to  the  surface  of  the  tissue-compound  contained 
in  a trough,  and  kept  fluid  by  means  of  heat,  and  I draw  or 
raise  the  sheet  or  length  of  paper  off  the  surface  with  a regu- 
lar motion;  and  I sometimes  apply  more  than  one  coating 
to  the  same  sheet  in  this  manner.  After  such  coating,  I 
place  the  coated  paper  where  it  will  quickly  dry,  and  seclude 
it  from  injurious  light. 

“The  sensitive  tissue,  prepared  as  before  described,  is, 
when  dry,  ready  to  receive  the  photographic  impression,  by 
exposure  under  a negative  in  the  usual  manner,  or  by  ex- 
posure in  a camera  obscura,  to  light  transmitted  through  a 
negative  in  the  manner  usual  in  printing  by  means  of  a 
camera.  I prefer  to  use  the  sensitive  tissue  within  two  days 
of  the  time  of  its  preparation.  Where  the  tissue  is  not  re- 
quired for  immediate  use,  I omit  the  sensitizer  from  the  tis- 
sue-compound, as  before  mentioned ; and  with  this  non-sen- 
sitive tissue-compound  I coat  paper,  glass,  or  other  surface, 
as  described  in  the  preparation  of  the  sensitive  tissue  or  paper. 
In  preparing  sheets  of  non-sensitive  tissue  by  means  of  glass. 


252  The  Modern  Methods  op  Carbon  Printing. 

as  described,  I use  no  preliminary  coating  of  collodion.  I 
dry  the  non-sensitive  tissue  in  the  same  manner  as  the  sen- 
sitive, except  that  in  the  case  of  the  non-sensitive  tissue,  se- 
clusion from  daylight  is  not  necessary. 

“The  non-sensitive  tissue  is  made  sensitive,  when  re- 
C[uired  for  use,  hy  floating  the  gelatinous  surface  upon  a 
solution  of  the  sensitizer,  and  the  sensitizer  that  I prefer  to 
use  for  this  purpose  is  an  aqueous  solution  of  the  bichromate 
of  potash  containing  about  two  and  a half  per  cent  of  this 
salt.  I apply  the  sensitizer  (by  floating  or  otherwise),  to  the 
gelatinous  surface  of  the  tissue;  and  after  this,  I place  it  in 
a suitable  position  for  drying,  and  exclude  it  from  injurious 
light. 

“In  applying  to  photographic  printing  the  various  modi- 
fications of  the  sensitive  tissue,  prepared  as  before  described, 
I place  the  sensitive  tissue  on  a negative  in  an  ordinary  pho- 
tographic printing-frame,  and  expose  to  light  in  the  manner 
usual  in  photographic  printing;  or  I place  it  in  a camera 
obscura  in  the  manner  usual  in  printing  by  means  of  a 
camera  obscura.  When  the  tissue  employed  is  coated  with  a 
film  of  collodion  on  one  side,  I place  the  collodionized  side 
in  contact  with  the  negative ; or  where  it  is  used  in  the 
camera,  I place  the  collodionized  side  towards  the  light  pass- 
ing through  the  camera  lens.  Where  the  tissue  is  not  coated 
with  collodion,  and  where  paper  forms  one  of  the  surfaces 
of  the  tissue,  the  other  surface  being  formed  of  a coating  or 
film  of  the  tissue-compound,  I place  this  last-named  surface 
in  contact  with  the  negative ; or,  when  using  it  in  the  camera, 
I present  this  surface  towards  the  light  transmitted  by  the 
lens.  After  exposure  for  the  requisite  time,  I take  the  tissue 
from  the  printing-frame  or  camera,  and  mount  it  in  the  man- 
ner hereinafter  described,  that  is  to  say,  I cement  the  tis.sue, 
with  its  exposed  surface,  or,  in  other  words,  with  that  sur- 


The  Modern  Methods  op  Carbon  Printing. 


253 


face  which  has  received  the  photographic  impression,  down- 
ward, upon  some  surface  (usually  of  paper)  to  serve  tem- 
porarily as  a support  during-  the  subsequent  operation  of 
developing-,  and  with  a ^dew  to  the  transfer  of  the  print, 
after  development,  to  another  surface;  or  I cement  it  (also 
with  the  exposed  or  photographically  impressed  surface 
downward),  upon  the  surface  to  which  it  is  to  remain  perma- 
nently attached.  The  surface,  on  which  it  is  so  mounted, 
may  be  paper,  card,  glass,  porcelain,  enamel,  etc.  Where 
the  tissue  has  not  been  coated  with  collodion  previous  to  ex- 
posure to  light,  I prefer  to  coat  it  with  collodion  on  the 
exposed  or  photographically  impressed  side,  before  mount- 
ing it  for  development,  but  this  is  not  absolutely  necessai*y; 
and  I sometimes  omit  the  coating  with  collodion,  more  par- 
ticularly where  the  print  is  intended  to  be  colored  subse- 
quently. Or  where  I employ  collodion,  with  a view  to 
connect  the  minute  and  isolated  points  of  the  print  firmly  to- 
gether during  development,  I sometimes  ultimately  remove 
the  film  it  forms,  by  means  of  a mixture  of  ether  and  alcohol, 
after  the  picture  has  been  finally  mounted,  and  the  support 
of  the  film  of  collodion  is  no  longer  required.  In  mounting 
the  exposed  tissue  or  paper  previous  to  development,  in  the 
temporai-y  manner,  with  a view  to  subsequent  transfer  to 
another  surface,  I employ,  in  the  mounting  a cement  that  is 
insoluble  in  tbe  water  used  in  the  developing-  operation,  but 
that  can  be  dissolved  afterwards,  by  the  application  of  a suit- 
able solvent ; or  one  that  possesses  so  little  tenacity,  that  the 
paper  or  other  support,  attached  temporarily  to  the  tissue  or 
paper  by  its  means,  may  be  subsequently  detached  without 
the  use  of  a solvent. 

“The  Cements  that  may  be  used  for  temporary  mount- 
ing are  very  various,  but  I generally  prefer  to  use  a solution 
of  India-rubber  in  benzole  or  other  solvent,  containing  about 


254  The  Modern  Methods  op  Carbon  Printing. 

six  grains  of  India-rubber  in  each  ounce  of  solvent,  and  I 
sometimes  add  to  the  India-rubber  solution  a small  propor- 
tion of  dammar-gum,  or  gutta-percha.  In  using  this  cement,  I 
float  the  photographically  impressed  surface  of  the  tissue 
upon  it,  and  I treat,  in  a similar  manner,  the  paper  or  other 
surface  intended  to  be  used  as  the  temporary  mount  or  sup- 
port during  development;  and,  after  allowing  the  benzole 
or  other  solvent  to  evaporate,  and  while  the  surfaces  coated 
with  the  cement  are  still  tacky  I press  them  strongly  together 
in  such  a manner  as  to  cause  them  to  cohere. 

“When  the  photographically  impressed,  but  still  unde- 
I'eloped  tissue  is  to  be  cemented  to  a surface,  that  not  only 
serves  to  support  the  picture  during  its  development,  but  also 
constitutes  permanently  the  basis  of  the  picture,  I prefer  to 
use  albumen  or  starch  paste  as  the  cementing  medium ; and 
where  I employ  albumen  I coagulate  or  render  it  insoluble 
in  water  (by  means  of  heat,  by  alcohol,  or  other  means), 
after  performing  the  cementing  operation,  and  previous  to 
developing.  In  the  permanent,  as  in  the  temporary  mode  of 
mounting,  I cement  the  tissue,  with  its  photographically  im- 
pressed surface  dowmvards , upon  the  surface  to  which  it  is 
to  be  permanently  attached.  Atfer  mounting  the  tissue,  as 
before  described,  and  allowing  the  cement  used  time  to  dry, 
where  it  is  of  such  a nature  as  to  require  it,  I then  submit 
the  mounted  tissue  to  the  action  of  water,  sufficiently  heated 
to  cause  the  solution  and  removal  of  those  portions  of  the 
colored  gelatinous  matter  of  the  tissue  which  have  not  been 
rendered  insoluble  by  the  action  of  light  during  exposure  in 
the  printing-frame  or  camera.  Where  paper  has  been  used 
as  a part  of  the  original  tissue,  this  paper  soon  becomes  de- 
tached by  the  action  of  the  warm  water,  which  then  has 
free  access  to  the  under  stratum  or  back  of  the  colored  gel- 
atinous coating,  and  the  soluble  portions  of  it  are  therefore 


The  Modern  Methods  of  Carbon  Printing. 


255 


readily  removed  by  the  action  of  the  water;  and  by  this 
means  the  impression  is  developed  that  was  produced  by  the 
action  of  light  during  exposure  of  the  tissue  in  the  printing- 
frame  or  camera,  and  the  picture  remains  attached  to  the 
mount,  cemented  to  the  photographically  impressed  surface 
previous  to  development.  I allow  the  water  to  act  upon  the 
prints  during  several  hours,  so  as  to  dissolve  out  the  decom- 
posed bichromate  as  far  as  possible.  I then  remove  them 
from  the  water,  and  allow  them  to  dry,  and  those  not  in- 
tended for  transfer,  but  that  have  been  permanently  attached 
to  paper,  previous  to  development,  I finish  by  pressing  and 
trimming  in  the  usual  manner.  Those  which  have  been  tem- 
porarily mounted,  I transfer  to  paper,  card,  or  other  surface. 
In  transferring  to  paper  or  card,  I coat  the  surface  of  the 
print  with  gelatine,  gum  arabic,  or  other  cement  of  similar 
character,  and  allow  it  to  dry.  I then  trim  the  print  to  the 
proper  shape  and  size,  and  place  its  surface  in  contact  with 
the  piece  of  paper  or  card  to  which  the  transfer  is  to  be  ef- 
fected, such  piece  of  paper  or  card  having  been  previously 
moistened  with  water,  and  I press  the  print  and  mount 
strongly  together ; and,  after  the  paper  or  card  has  become 
perfectly  dry,  I remove  the  paper  or  other  supporting  mate- 
rial, temporarily  attached,  previous  to  developrtient,  either 
by  simply  tearing  it  off,  where  the  cement  used  in  the  tem- 
porary mounting  is  of  a nature  to  allow  of  this  without  in- 
jury to  the  print,  or  I apply  to  the  temporary  mount,  benzole 
or  turpentine,  or  other  solvent  of  the  cement  employed,  or 
I immerse  the  print  in  such  solvent,  and  then  detach  the  tem- 
porary mount,  and  so  expose  the  reverse  surface  of  the  print ; 
and,  after  removing  from  the  surface  of  the  print,  by  means 
of  a suitable  solvent,  any  remains  of  cement  used  in  the  tem- 
porary mounting,  I finish  the  print  by  pressing  in  the  usual 
manner.  If,  however,  the  print  be  collodionized,  and  be  re- 


256 


The  Modern  Methods  op  Carbon  Printing. 


quired  to  be  tinted  with  water-color,  I prefer  to  remove  the 
collodion  film  from  the  surface  of  the  print,  and  this  I do  by 
the  application  of  ether  and  alcohol. 

“Having  now  set  forth  the  nature  of  my  invention  of 
‘Improvements  in  Photography,’  and  explained  the  manner 
of  carrying  the  same  into  effect,  I wish  it  to  be  understood, 
that  under  the  above  in  part  recited  letters-patent,  I claim : 
First,  the  preparation  and  use  of  colored  gelatinous  tissues 
in  the  manner  and  for  the  purpose  above  described. 

“Secondly,  the  mounting  of  undeveloped  prints,  obtained 
by  the  use  of  colored  gelatinous  tissues,  in  the  manner  and 
for  the  pui-pose  above  described. 

“Thirdly,  the  re-transfer  of  developed  prints  produced 
as  above  descril^ed,  from  a temporary  to  a permanent  sup- 
port.’’ 


The  Modern  Methods  op  Carbon  Printing. 


257 


CHAPTER  X. 


' I ^ HE  next  important  improvement  Mr.  Swan  made  in 
the  production  o£  carbon  tissue  was  a lasting  one.  For, 
with  but  few  alterations,  it  remains  the  same  to  this  day. 
He  discarded  the  collodion  film,  which  necessitated  the  trou- 
blesome manipulations  of  coating  the  glass,  and  simply 
coated  a sheet  of  tough  paper  with  the  pigmented  gelatine 
compound.  After  this  tissue  had  been  exposed  to  light  un- 
der a negative,  it  was  coated  with  a rubber  solution  and 
forced  into  contact  with  a rubber-coated  paper  the  same  as 
the  collodion  film  previously  described. 

The  two  adhering  sheets  were  then  put  into  warm  water, 
which  softened  the  gelatine  in  contact  with  the  paper  upon 
which  it  was  coated,  allowing  it  to  be  stripped  from  the 
pigment  film,  which  remained  resting  on  the  rubber-coated 
paper.  The  soluble  side  of  the  film  was  thus  exposed  to  the 
action  of  the  warm  water  and  the  picture  was  developed, 
resting  upon  the  rubber  paper  in  beautiful  relief.  Printed 
from  ordinary  negatives,  these  pictures  were  reversed  like 
the  Daguerreoytpe,  the  right  side  being  on  the  left  or  vis- 
a-vis.  This,  practically,  was  the  first  single  transfer  process. 

Although  these  pictures  were  very  beautiful,  they  were, 
however,  in  many  instances  objectionable  on  account  of  their 
reversed  positions. 

To  overcome  this  difficulty,  Mr.  Swan  devised  another 
means  by  which  the  pictures  were  again  reversed  and  the 
evil  practically  surmounted. 

His  method  of  reversing  the  image  was  to  transfer  it  to 
a tough  paper  support,  which  had  previously  been  coated 


258 


The  Modern  Methods  op  Carbon  Printing. 


with  a partly  insoluble  gelatine,  and  put  under  pressure  un- 
til dry. 

The  India  rubber  coated  paper  was  then  moistened  on 
the  back  with  benzine,  which  caused  the  film  to  dissolve  and 
the  paper  could  be  stripped,  leaving  the  picture  firmly  ad- 
hering to  the  final  support. 

This  was  the  introduction  of  the  double  transfer  process, 
by  which  many  very  excellent  pictures  have  been  made,  and 
which  were  surpassed  only  very  recently  by  the  superior  ex- 
cellence of  our  modern  methods. 

However  perfect  the  process  seemed  to  be  at  the  time, 
there  yet  remained  one  serious  imperfection — the  absence  of 
a proper  gradation,  ranging  from  light  to  dark.  Most  of  the 
pictures  produced  were  one  abrupt  step  from  light  to  shade, 
and  any  approach  to  delicacy  marked  half-tones  were  ex- 
ceedingly rare. 

This  caused  the  notion  to  prevail  that  the  finest  mechan- 
ical subdivision  of  a pigment  could  not  equal  in  delicacy  and 
fineness,  the  deposit  obtained  by  the  chemical  reduction  of 
the  salts  of  silver  or  platinum. 

It  was  afterwards  plainly  proven,  however,  that  this  was 
not  the  cause  of  the  difficulty ; but  that  it  was  the  fault  of 
the  crude  and  impractical  developing  methods  that  caused 
the  imperfection,  instead  of  the  pigments  used. 

In  1867,  Mr.  J.  R.  Johnson  introduced  a method  of  de- 
veloping carbon  pictures  that  was  a decided  step  in  advance 
of  all  previous  inventions  It  lessened  the  expense  as  well 
as  the  number  of  manipulations  to  an  extent  that  it  has  re- 
mained virtually  the  same  for  thirty  years. 

His  experiments  were  based  upon  the  principle,  that  if 
a moist  film  be  pressed  into  perfect  contact  with  a flat, 
smooth  surface,  ivhich  is  impervious  to  air,  it  will  firmly 
adhere  thereto  without  the  aid  of  an  adhesive. 


The  Modern  Methods  op  Carbon  Printing. 


259 


He  found  that  this  principle  could  be  successfully  em- 
ployed in  the  development  of  carbon  pictures.  The  tissue 
was  placed  in  cold  water  until  it  became  limp,  and  was  then 
placed  upon  a support  and  firmly  squeezed  into  contact  with 
its  surface  and  developed.  In  this  manner  he  transferred 
his  tissue  to  either  temporary  or  permanent  supports  with- 
out the  aid  of  an  adhesive  preparation. 

The  tissue,  on  its  impervious  support,  was  allowed  to 
rest  for  a short  time  and  was  then  placed  in  warm  water, 
which  dissolved  the  soluble  gelatine  at  the  back  and  allowed 
the  paper  to  be  removed,  which  revealed  a dark  mass  of 
partially  soluble  pigmented  gelatine.  The  soluble  parts  were 
then  removed  by  the  gentle  application  of  warm  water  and 
the  carbon  picture  in  all  its  beauty  was  left  resting  upon  the 
support. 

The  greater  part  of  all  the  carbon  pictures  produced  in 
this  country  at  the  present  time  are  developed  in  this  man- 
ner upon  matt  surface,  celluloid,  or  opal  glass. 

Carbon  pictures  transferred  to  these  supports  are  very 
beautiful  and  are  becoming  quite  popular  among  the  better 
classes. 

The  only  serious  objection  to  Mr.  Johnson’s  improve- 
ment was  that,  like  in  Mr.  Swan’s  process,  the  image  was 
reversed  and  to  bring  it  into  its  proper  position  it  had  to  be 
corrected  by  again  transferring  it  to  another  support. 

In  1874,  Mr.  J.  R.  Sawyer  invented  a flexible  temporary 
paper  support  to  use  in  making  pictures  by  the  double  trans- 
fer process.  It  is  made  by  first  coating  a hard,  tough  paper 
with  an  insoluble  gelatine,  and  then  with  an  alkaline  solution 
of  lac.  When  thoroughly  dry,  it  is  rolled  and  polished. 

To  use,  it  is  necessary  to  apply  a waxing  solution  which 
allows  the  free  and  easy  separation  of  the  carbon  picture 
from  the  temporary  to  the  final  support. 


260  The  Modern  Methods  of  Carbon  Printing. 

The  yielding-  nature  of  this  paper  support  has  many  ad- 
vantages over  other  temporary  supports,  especially  where 
the  pictures  are  to  be  transferred  to  an  uneven  or  curved 
surface. 

Tate  in  the  seventies,  a Frenchman,  M.  Lambert,  created 
quite  a stir  in  Europe  and  later  in  this  country,  by  exhibiting 
pictures  with  a brilliant,  glass-like  surface.  His  collection 
was  probably  the  finest  lot  of  carbon  pictures  ever  exhibited 
in  this,  or  any  other  country.  I was  a mere  apprentice  at  the 
time,  but  after  seeing  this  beautiful  collection  of  pictures,  I 
was  so  infatuated  with  this  charming  process  that  I have 
devoted  a great  deal  of  time  and  attention  to  it  ever  since. 

M.  Lambert’s  improvement,  for  which  he  obtained  a 
patent,  consisted  in  polishing  a glass  plate  with  a waxing 
solution  and  then  coating  it  with  plain  collodion.  Upon 
these  collodionized  plates  he  mounted  the  exposed  carbon 
tissue,  which,  after  development,  was  again  transferred  to  a 
permanent  support  and  then  stripped  from  the  glass  and 
mounted  on  cards. 

The  surfac'e  of  these  pictures  had  all  the  brilliancy  and 
luster  of  a polished  plate  glass  and  were  exceedingly  beau- 
tiful. Great  interest  was  manifested  in  the  process  at  that 
time,  and  M.  Lambert’s  method  was  eagerly  taken  up  by 
many  of  the  most  prominent  men  of  the  profession ; but,  un- 
fortunately, in  spite  of  the  great  beauty  of  these  pictures  this 
method  proved  itself  difficult  and  unprofitable,  and  the  pro- 
cess gradually  sank  into  neglect  and  silent  forgetfulness,  and 
for  fifteen  years  was  very  little  heard  of,  especially  in  Amer- 
ica. 

The  fading  products  of  the  silver  process  again  awak- 
ened a new  interest  in  this  seriously  neglected  process,  and 
it  has  been  steadily  growing  until  it  is  now  looked  up  to  as 
the  standard  of  perfection  in  photographic  printing  pro- 


cesses. 


A D VERTISEMENTS . 


I 


Marton’s  New  Rapid  Sensitizer 
for  Carbon  Tissue 

The  crowning  success  of  all  the  late  improvements  in 
Carbon  printing,  and  a most  valuable  process  in  hot 
weather. 

With  this  new  chemical  compound  it  is  possible  to 
sensitize,  and  have  the  tissue  dry,  ready  for  use  in  five 
minutes. 

No  other  method  can  equal  this  for  rapidity^  and 
such  beautiful  and  permanent  results.  The  work  is 
simple,  neat,  and  clean,  and  economizes  both  time  and 
material. 

2 ounces,  will  make  J2  ounces  of  solution  . yo  cents 
ounces,  will  make  64  ounces  of  solution  . jy  cents 

By  maii,  5 cents  extra  for  postage. 

Accelorine 

A chemical  combination  that  keeps  the  sensitizing 
bath  in  fine  working  order 

And  improves  the  keeping  qualities  of  sensitive 
tissue  to  such  an  extent,  that  it  will  keep  for  months, 
without  becoming  insoluble  or  losing  its  sensitive 
properties.  It  makes  the  tissue  easily  soluble  in 
water  of  a comparatively  low  temperature,  and  adds 
greater  brilliancy  to  the  image. 

4 ounce  can  .....  yy  cents 

8 ounce  can  .....  yo  cents 

By  mall,  lo  cents  extra  for  postage. 

Send  Post  or  Express  Money  Order.  No  Stamps. 

The  American  Photo-Oleograph  Co., 

BLOOMINGTON,  ILL.,  U.  S.  A. 


II 


Advertisements. 


Antichrome 

Antichrome  eliminates  all  traces  of  bi= 
chromate  from  the  film  and  adds  brilliancy  and 
pureness  of  tone  to  carbon  pictures,  impossible  to 
obtain  by  any  other  method. 

It  is  the  only  effective  remedy  against  the  Con- 
tinuous Action  of  Light,  which  it  checks  completely, 
and  renders  the  exposed  carbon  tissue  entirely  insensi- 
tive to  light,  which  may  then  be  stored  away  and  de- 
veloped at  any  future  time. 

(Quarter  pound  package  . . ' ^5  A 

Half  pound  package  . . . j>y  cents 

One  pound  package  . . .do  cents 

By  mail,  i cent  per  ounce  added  for  postage. 

Carbon  Reducine 

This  is  the  only  safe  and  effective  remedy 
for,  dark  or  over=printed  carbon  pictures 
known. 

It  is  the  chemical  agent  that  turns  failure  into  suc- 
cess, and  saves  many  fine  pictures,  that,  without  it’s 
use,  would  have  been  a failure,  and  a total  loss. 

Every  carbon  printer  is  aware  of  the  fact  that  with 
beginners,  the  majority  of  failures,  are  due  to  over- 
printing or  the  continuous  action  of  light. 

4 ounces  ...  . • ^5  tents 

8 ounces  .....  cents 
1 6 ounces  ...  . . 6o  cents 

By  mail,  i cent  to  the  ounce  added  for  postage. 

Send  express  or  postal  money  order.  (No  stamps  accepted)  with  order. 

The  American  Photo-Oleograph  Co., 

BLOOMINGTON,  ILL.,  U.  S.  A. 


A DVERTISEMENTS . 


Ill 


AUTOTYPE. 


AUTOTYPE  CARBON  TISSUE 

MADE  BY  THE  AUTOTYPE  CO..  LONDON.  ENGLAND 

USED  IN  MAKING  CARBON  PRINTS,  TRANS- 
PARENCIES, ETC.,  GIVING  PER- 
MANENT PICTURES 


Nos.  and  colors;  93,  Terra  Cotta;  97,  Warm  Sepia;  100,  Standard  Brown;  103,  Warm  Black;  104, 
Engraving  Black;  105,  Sepia;  106,  Red  Chalk;  115,  Lambertype  Purple  (for  Portraits);  151.  Sea  Green; 
152,  Dark  Blue;  165,  Italian  Green;  169,  Platinum  Black;  162,  Brown  Black ; 163,  Blue  Black,  In  Bands, 
2 1-2  X 12  Feet,  pet'  band  $2-75. 

113,  Portrait  Brown,  per  band  of  2^  by  12  feet,  $3.00. 

107,  Special  Transparency,  per  band  of  by  10  feet,  $3.60. 

SINGLE  TRANSFER  PAPER 


A fine  paper  coated  with  insoluble  gelatine,  forming  a support  for  prints  from  reversed  negative* 
or  where  the  inversion  of  the  image  is  of  no  consequence. 

No.  79.  Fine,  thin,  for  small  work,  band  25^  by  12  ft  - - - - $1.50 

No.  108.  Medium  thickness,  band  2^  b>  12  ft  _ . . - . 1.20 

No.  116.  Thick,  for  large  work,  band  2J^  by  12  ft  -----  1.35 

ETCHING  PAPER,  SINGLE  TRANSFER 

A rough-surfaced  tone  Et«*hing  Paper  for  Single  Transfer,  yielding  prints  with  broad  artistic  effect, 
and  free  from  the  glaze  of  an  ordinary  carbon  print.  By  masking  the  negative,  prints  may  be  de- 
veloped on  this  paper  wdth  suitable  margin,  rendering  mounting  unnecessary. 

Band  by  12  feet  . - $1.60 

Can  vas-grained,  sheets  22  X 30  inches,  toned  sheet  . _ . _ .45 

Canvas-grained  sheets,  22  X 30  inches,  white  sheet  _ _ . . .45 

Aluminum  coated,  sheets  22  x 30  inches,  sheet  -----  .45 

FINAL  SUPPORT  FOR  DOUBLE  TRANSFER 


Is  a special  prepared  paper  coated  with  gelatinous  emulsion  of  a permanent  white  or  tinted  pig- 
ment. It  supersedes  the  old  Double  T)  an  fer  Paper  by  reason  of  its  greater  efficiency  and  the  ease 
and  simplicity  of  working  with  it.  It  will  keep  good  for  an  inoefinite  time,  does  not  require  hot 
water,  and  forms  a permanent  basis  for  the  pigment  print. 

No.  86.  Medium  thickness,  band 2K  X 12  feet  - . - . . $1.30 

No.  87.  Fine,  thin,  for  small  work,  band  2K  X 12  feet  - - , - 1.50 

SAWYER’S  TEMPORARY  SUPPORT 

A Specially  prepared  paper  coated  with  insoluble  gelatine  and  solutions  of  certain  lacs;  prints  can 
be  developed  upon  it  with  the  same  ease  and  facility  a*^  on  the  single  Transfer  Paper;  when  finished 
and  place  d in  contact  with  the  surface  of  the  Autotype  Final  Support,  the  prints  adhere  firmly  to  it 
and  the  Temporary  Support  imparts  a gloss  similar  to  Albumen  Paper. 

The  Temporary  Support  may  be  used  an  indefinite  number  of  times,  only  requiring  to  be 
rubbed  over  with  the  waxing  solution  to  ensure  the  stripping  of  the  print  from  its  surface. 

Sheets,  18  X 23  inches,  per  sheet  - - - - - - - ^5.35 

Sheets,  18  X 23  inches,  per  doz  3.30 

Sheets,  36  X 48  inches,  per  sheet  - . - - - - - - 1.30 

CUT  SIZES  3 PKOS  1 DOZ. 


CARBON  TISSUE. 

' All  colors,  except  assorted  colors 
and  No.  11/7  Transparency 
6x7  in..  50  cents 
8 X 10  in..  ^.00 

Assorted  Colors  and  No.  107  Transparency 
8 X 10  per  packrge 
5x  7 per  package 


TRANSFER  PAPERS. 


No.  b’6  Doubl‘d  Transfer 
25c 
45c 


No.  108  Single  Transfer 
20c 
40c 


a. 30 
.65  cents 


SPOTTING  COLORS  AND  SUNDRIES 

Sea  Green,  Engraving  Black,  Warm  Black,  Chalk,  Red  Chalk,  Terra  Cotta,  Warm  Sepia,  Cool  Sepia. 
Dark  Blue,  Brown  Black,  in  porcelain  pans  Pan,  45 

Burton’s  Photometer,  each  - --  --  --  --  ^.75 

Sawyer’s  Photometer,  each  - --  --  --  - 2.^ 

Johnson’s  Actiometer,  each  - --  --  --  - 1.10 

Waxing  Compound  for  solution  in  turpentine,  cake  . - - - .25 

Celluloid  in  sheets  (White),  for  mounting  above  for  transparencies,  brooches,  etc.,  etc. 

20  X 50  inches,  iO-1000  in.  thick,  per  sheet  ^1.25 

Celluloid  in  Sheets  (White),  20  X 50  inches,  20-1000  thick,  per  sheet  -----  2. 00 

Celluloid  (White)  in  Cut  Sizes; 

5x7  in.,  10-1000  in,  thick,  per  doz  60  cents;  20-1000  thick,  per  doz  ^.10 
8x10“  “ “ “ ^51. 30;  *’  “ “ “ 2.50 


BOOKS  ON  CARBON  PRINTING 


CLEAR  INSTRUCTIONS  ON  WORKING  THE  CARBON  PROCESS 

THE  ABC  MANUAL  OF  CARBON  PRINTING,  by  the  autotype  company  $1.25 
CARBON  PRINTING,  by  max  boelte.  price  50  cents 

COMPLETE  OUTFIT  FOR  5x7  PRINTS,  $5.00 


Circular  of  contents  and  descripti've  printed  matter  free 
Orders  for  Autotype  Co’s.  Carbon  Tissues  promptly  filled  by  the  Agents 

GEORGE  MURPHY  INC.,  57  e.  9th  st.,  new  york 


IV 


Advertisements. 


B IL 

4 ' ■ * 

w . 

* 

t. 

Hot  Water 

for  Carbon  Printing  and 
for  Every  Purpose  can 
be  best  supplied  by  a 

Humphrey 

Crescent 

Instantaneous 

Water 

Heater 

FOR  USE  WITH  GAS 


Simple,  Durable,  Efficient,  Economical 


Write  today  for  Catalogue  No. 
7 to  Photo  Supply  Dept,  of 


Humphrey  Co. 

Kalamazoo,  Mich.,  U.  S.  A. 


^IN  PREPARATION 

CERAMIC  PHOTOGRAPHY 

or  the  Art  of  making  Indestructible  Pigment  Pictures 

on  Porcelain,  China,  Fayance,  Enameled  Copper 
Plaques,  or  Opal  Glass, 

After  the  methods  devised  by  A.  n.  Marton. 

The  Ceramic  Gum  Bichromate  Process,  by  Opal. 
The  Substitution  Process,  and  the  Latest 
Improved  Dust-on  Methods. 

with  full  and  explicit  instructions. 

HOW  TO  PAINT  OR  COLOR  THE  VITRIFIABLE  IMAGE 

and  the  best  and  most  practical  methods  for  Firing  Ceramic  Photographs,  etc. 


MARTON’S  CARBON  STUDIO 

BLOOMINGTON,  ILL.,  U.  S.  A. 


Advertisements. 


V 


NO  PHOTOGRAPHER 

questions  our  price  on  a large  portrait— after  they  get  the  portrait. 

ISN’T  THAT  BETTER 

than  an  unsatisfactory  portrait  at  a dollar  or  two  less? 

WHAT’S  A DOLLAR? 

The  Sprague  & Hathaway  Co. 

West  Somerville,  Mass. 


Mr.  Photographer. 

Dear  Sir; — Our  Cards  add  correct  style  to  the  photo.  We 
manufacture  one  hundred  and  one  beautiful  styles  of  Cards.  When 
you  are  in  need  of  Cards  insist  on  your  stock  dealers  showing  you 
ours  before  you  decide  to  purchase.  We  know  they  will  please  vou. 

Yours  very  truly, 

Taprell,  Loomis  & Co.,  Chicago 


OUR  SUPERFINE  CARBON  TISSUES 

ARE  RICH  AND  BRILLIANT  IN  COLORING 
Very  readily  (but  not  excessively)  soluble  in  water  at 
a medium  temperature,  which  gives  them  great  latitude 
in  development,  and  produces  very  artistic  and 
beautiful  effects. 

Send  for  detailed  list  and  prices. 

THE  AMERICAN  PHOTO-OLEOGRAPH  CO. 

BLOOMINGTON,  ILL. 


Illustrated  Artistic  Kncyclopoedia 

Books  and  publications  of  high  artistic  value,  fully  illustrated 
by  Academic  studies  of  the  nude.  All  photographs  obtained 
from  Nature  with  living  models 

Illustrated  Special  Catalogue  sent  on  demand. 

C.  K L A R Y, 

Editor  of  “Le  Photogramme” 

17  Rue  de  Maubeuge  - - PARIS,  FRANCE 


VI 


Advertisements. 


AFTER  OVER  THIRTY  YEARS 
IN  THE  PHOTO  BUSINESS 

THE  HOUSE  OF  HYATT 

STILL 

“STANDS  FOR  RELIABILITY” 

DEALERS  IN 

PHOTOGRAPHIC  SUPPLIES  FOR 
EVERY  PURPOSE,  AND  OF  ALL 
KINDS.  ALWAYS  FRESH  AND 
CLEAN.  CAMERAS,  LENSES,  Etc. 

WE  HANDLE  MATERIAL 
FOR  THE  CARBON  PROCESS 


CATALOG  GRATIS 

H.  A.  HYATT  SUPPLY  CO. 

No,  ^l6  £5*  'ilS  Publishers  of,  ST.  LOUIS,  MO, 

8th  Street  ThE  PhOTO-MirROR  U.S.A. 


Ajjvertisements. 


VII 


IF  YOU  ARE  FAMILIAR 
with  the  sterling  merit  of  the  Ham- 
mer products  you  are  acquainted 
WITH  WHAT  WE  TERM 


Hammer  Quality 


IT’S  JUST  A LITTLE  BETTER 
than  most  others,  and  lots  better  than 
many.  It’s  seen  in  the  grade  of  the 
glass,  in  the  cleanliness  of  the  emulsion, 
in  the  evenness  of  grain,  and  in  all 
points  that  go  to  make  a perfect 
photographic  plate  prepared  to  catch 
all  the  lens  sees,  and  what  is  more  to 
hold  it.  If  you  use  our  plates  you  know 
THE  HAMMER  QUALITY.  If 
you  don’t,  it  will  cost  but  little  to 
learn  about 


Hammer  Quality 


The  Hammer  Dry  Plate  Co. 


ST.  LOUIS.  NO. 


VIII 


Advertisements. 


It  Pays  to  Remember 

that  the  value  of  a finished  print  depends  upon  the  negative, 
also  that  the  quality  of  the  negative  depends  upon  the  plate. 
Your  patrons  are  not  interested  In  the  plate  but  YOU  ARE. 
That’s  why  it  is  important  that  a plate  be  used  from  which 
you  may  obtain  the  fullest  range  of  color  values,  the  greatest 
possiVile  amount  of  detail  and  feeling  of  roundness  and  tonality 
in  flesh  and  draperies. 

The  Cramer  Iso  Plate 

interprets  color  values  with  great  accuracy,  portraying  flesh 
tints,  color  of  hair,  eyes  and  draperies  with  correctness  that 
astonishes  those  unfamiliar  with  this  brand  of  plate.  Another 
desirable  quality  they  possess  is  speed;  so  essential  in  the  pho- 
tographing of  children  and  large  groups.  They  are  well  worth 
a trial.  Send  for  descriptive  matter. 

“It’s  all  in  the  plate.” 


G.  CRAMER  DRY  PLATE  CO. 

ST.  LOUIS,  MISSOURI 

CHICAGO  SAN  FRANCISCO  NEW  YORK 

39  State  Street  Room  38,  819  Market  Street  93  University  Place 


THE  PHOTO-OLEOGRAPH  PROCESS 

A combination  of  Painting  and  Photography  that 
produces  beautiful  and  almost  life-like  pictures. 

The  process  presents  no  difficulties  in  Photography 

and  the  painting  requires  no  previous 
art  training  or  experience  with  colors. 

WITM  COLOR  chart 

and  full  directions  for  painting  Landscape 
and  Portraiture. 

Handsomely  bound  in  full  cloth. 

Price  cash  with  order,  $2.00. 

The  American  Photo-Oleograph  Co. 
Bloomington,  III. 


Advertisements. 


IX 


ESTABLISHED  1884 


McCABE  & CO. 

Manufacturers  of  the 
Leading  Styles  in  Fine 

Photographic 

Mounts 


We  Deal  Direct  with  Photographers 


Office  and  Factory 

215  Pearl  Street  New  York  City 


X 


Advertisements. 


GET  THE  HABIT 

of  reading  The  ST.  LOUIS  & 
CANADIAN  PHOTOGRAPHER 

IT  WILL  PAY 


A World  of  facts,  new  ideas 
and  up-to-date  methods  for  only 

$2.00  PER  YEAR 

^ {If  paid  in  Advance) 

SUBSCRIBE  NOW 

MRS.  FITZ-GIBBON-CLARK 

PUBLISHER 
3210  Lucas  Avenue 

ST.  LOUIS,  - - MISSOURI 


Advertisements. 


XI 


PRACTICAL  BOOKS 
FOR  PRACTICAL  PHOTOGRAPHERS 

Professional  Photography 

In  two  volumes,  written  by  an  English  professional  and  covering 
the  whole  field.  Price  S1.00 

Pictorial  Composition 

By  Henry  R.  Poore.  Tells  how  to  make  pictures  and  how  to 
analyze  and  judge  them.  Illustrated  $1.50. 

Photographic  Reference  Book 

The  latest  and  fullest  cyclopedia  of  photographic  information.  1000 
references;  processes,  methods,  formulae,  etc..  By  J.  McIntosh. 
Price  75  CENTS. 

Toning  Bromides 

By  C.  W.  Somerville,  an  authority  on  this  subject.  Practical  meth- 
ods and  formulae.  Price  50  CENTS. 

Practical  Methods  of  Development 

The  Photo.  Miniature  No.  66.  A complete  explanation  of  the  Hurter 
& Drilfield  system,  the  Watkins  Method,  and  the  Wallace  Time 
system.  Price  25  CENTS. 

The  Art  of  Retouching 

By  R.  Johnson.  Plain  and  practical  instructions  on  retouching 
negatives,  finishing  prints.  Illustrated  SI. 00. 

The  Camera  Notes  Process  of  Developing  Platinotype 
Prints  to  Secure  Vignettes  and  Colors 

Only  12  pages,  but  illustrated  and  practical.  SI. 00. 

We  Publish  the  Photo-Miniature  Series  of  illustrated 
handbooks  on  photography  at  25  cents  each.  Send  for 
List,  and  our  Complete  Catalogue  of  Photographic  Books 


TENNANT  AND  WARD 
287  FOURTH  AVENUE,  NEW  YORK 


XII 


Advertisements. 


Electric  Citit®- 
Engraving  Company 

507-515  Washington  5t  Buffalo,  N .Y 

LoWest  ‘^Prices^^est  Wor'k. 

Write  rou  Prices  & nSamplcs. 


Advertisements. 


XIII 


American  Stamping  and 
Embossing  Co. 

M 

PHOTOGRAPHIC  MOUNTS 
ENCLOSURES 
ENVELOPES 
CARRIERS,  ETC. 

M 

21  LjuSalle  Street 
CHICAGO 


XIV 


Advertisements. 


To 

earn 

money, 

to 

save 

a 

little, 

to 

take 

soft 

and 

delicate 

pictures 

The 

Briggs 

Special 

Portrait 

Lens 

will 

do 


Free 

Trial 


Drop  Z.  T.  Briggs  & 
Co.  a postal  and  you 
will  get  one  of  their 
1905  Catalogues. 
Atchison,  Kans.  is  the 
place  where  the  lens 
man  lives. 


ADVERTISEMENTS. 


XV 


The  Carbon  Process 

is  simplified  by  using 

GGQQC3OQC3QO0OQGQ€3GGOGGOGGDCX3€je3C3G3CX3QQOGGG€3GGe3QG30OOOOC3Q0O 

I Rotograph  Carbon  Tissue  | 

OnoG^  jtj0nQG€30G€jG0GQr3C3Q€3€30G0Q-'X3G0GG€3QQQQnGG0G00e3e3€3C3CX300d 

They  develop  with  water  much 
colder  than  any  other  make. 

They  can  he  had  in  any  cut 
size  or  length  of  roll.  They  are 
made  in  a greater  variety  of 
colors.  They  are  about  25% 
less  in  price.  : : : : : : : 


CARBON  FOLIOS. 

The  Carbon  Emulsion  Coated 
upon  a celluloid  film  base, 
giving  Non-Reversed  Images 
without  using  double  transfer  or 
temporary  support.  Send  for 
price  list  and  other  valuable 
information.  ::::::: 

THE  ROTOGRAPH  COMPANY 

771-773  East  164th  Street 
NEW  YORK 


XVI 


Advertisements. 


If  You  Are  an  amateur  you  have  a choice  of  Several  photo- 
graphic journals,  but — If  You  Are  a professional  there  is  but  One 

Wilson’s 

Photographic  Magazine 

is  up-to-date  and  all  around.  Every  phase  of  the  profession,  artistic,  technical  and  com- 
mercial, is  practically  and  thoroughly  treated  by  the  ablest  exponents  in  each  particular 
field.  Items  of  general  interest  in  the  photographic  world,  notes  on  the  most  recent 
scientific  discoveries,  newsy  paragraphs  on  the  latest  and  best  of  everything  in  the  way  of 
photographic  goods,  apparatus  and  literature — all  these  are  regular  features  of  “Wilson’s.” 
The  price  is  $'i.oo  because  it  worth  it  to  every  person  interested  in  genuine,  high-grade 
professional  photography.  If  you  want  to  spend  only  $i.oo  buy  four  numbers  of 
“Wilson’s”  and  get  valuable  information,  rather  than  twelve  numbers  of  a magazine  that 
tells  you  what  you  already  know  or  don’t  care  about. 

There’s  no  chance  of  you  regretting  subscribing.  You  certainly  WILL  regret  NOT 
subscribing  if  you  ever  find  out  what  you’ve  missed,  and  can’t  get  the  back  numbers,  and 
frequently  you  can’t. 

.$3.00  A Year  Sample  Copy,  25c. 

EDWARD  L.  WILSON 

289  Fourth  Avenue  New  York 


A DTERTITEMENTS . 


XVII 


Photo  Era 

The  American  Journal  of  Photography.  A journal  with  artistic 
and  educational  aims,  covering  the  whole  field  of  photography. 
Price,  25c  a copy.  Yearly  subscription,  ^2.50.  Sample  copies 
free. 

Art  in  Photography 

A bi-monthly  publication  devoted  to  the  highest  achievements 
of  photographic  art  in  America  and  other  lands.  Each  number 
consists  of  five  or  more  photogravures  or  original  prints,  and  a num- 
ber of  specially  mounted  photo-engravings.  Price,  $z  per  copy. 
Yearly  subscription,  $10. 

The  Practical  Photographer 

The  most  useful  photographic  monthly  published.  Complete 
treatment  of  a special  subject  each  month,  fully  illustrated.  Sin- 
gle copies,  25c.  Subscription,  $2.50  a year. 

The  following  numbers  are  available: 

' I.  Trimming,  Mounting  and  Framing. 

2.  Printing  on  Bromide  and  Gaslight  Papers. 

3.  Developing  and  Developers.  , 

4.  After-Treatment  of  the  Negative. 

5.  Work  with  the  Hand  Camera. 

6.  Platinotype  Printing. 

7.  Landscape  Work. 

8.  Architectural  Work. 

9.  Photographic  Retouching. 

10.  Winter  Work. 

11.  Lantern  Slide  Making. 

12.  Pictorial  Composition. 

13.  Animal  Photography. 

14.  Gum-Bichromate  Printing. 

15.  Floral  Photography. 

16.  Portraiture. 

17.  Marine  Photography. 


PHOTO  ERA  PUBLISHING  COMPANT 

lyo  Summer  Street  BOSTON,  MASS. 


XVIII 


A D VEKTISEMENTS. 


The 

Photographic 

Times 


' HE  OLDEST  American  Photo- 
graphic Journal.  Has  been  re- 
garded as  the  standard  authority  on 
photographic  matters  for  over  a gener- 
ation. Nineteen  hundred  and  five  is  its 
thirty-seventh  consecutive  year  of  pub- 
lication. 

Each  number  has  forty-eight  pages 
of  interesting  photographic  text,  printed 
on  fine  paper  from  good  type,  and 
illustrated  with  many  attractive  half- 
tones. The  cover  for  each  month  is 
printed  in  varying  colors,  and  is  or- 
namented with  a different  and  pleasing 
photograph. 

The  valuable  and  authoritative  form- 
ulae furnished  throughout  the  year  are 
alone  worth  the  price  of  the  subscrip- 
tion. 

THE  PHOTOGRAPHIC  TIMES  IS 
INDISPENSABLE  TO  BOTH  THE 
AMATEUR  AND  PROFESSIONAL 
PHOTOGRAPHER. 


For  1905 


CPECIAL  FEATURES  for  the  year 
will  be. 

A WEALTH  OF  ILLUSTRA- 
TIONS in  each  issue  showing  examples 
of  the  work  of  the  best  American  and 
foreign  pictorialists. 

Articles  on  Gum  Bichromate,  Home 
Portraiture,  Flower  or  Still  Life  Pho- 
tography, Home-made  Apparatus,  Ani- 
mal and  Architectural  Photography  and 
many  other  topics  of  interest  to  pho- 
tographers generally. 

A SERIES  OF  MONTHLY  PRINT 
COMPETITIONS  FOR  VALUABLE 
CASH  PRIZES. 

Newsy  Accounts  of  Camera  Club 
happenings,  convention  notes,  descrip- 
tions of  the  latest  novelties  and  special- 
ties brought  out  by  the  leading  manu- 
facturers and  dealers,  reviews  of  the 
newest  works  on  photography,  will  en- 
able our  readers  to  keep  in  touch  with 
photographic  developments. 

Subscribe  nous  through  your  nearest  photo 
or  news  dealer,  or  to 

The  Photographic  Times 
Pub.  Ass’n. 

39  Union  Square  New  York 

One  dollar  a year.  Single  copies  ten  cents. 


Advertisements. 


XIX 


The  Air  Brush 


A practical  art  tool  for  good  work. 

Applies  liquid  color  by  jet  of  air  on 
any  surface  known  to  art,  enabling 
the  artist  to  save  time  and  drudgery 
work. 

Clean  effects  and  all  detail  desired. 

As  the  Air  Brush  becomes  better 
known,  it  is  much  more  useful. 

Has  many  uses  in  the  Photo  Engrav- 
ing Department. 

The  best  cuts  in  the  market  are  made 
from  drawings  made  from  the  Air 
Brush. 


Circulars  free.  Address 

Air  Brush  Manufacturing  Co. 

136  Nassau  St.,  Rockford,  111.,  U.  S.  A. 


XX 


Advertisements. 


ROUGH  & CALDWELL 

STUDIO:  NO.  122  WEST  29TH  STREET,  NEW  YORK 

S 

High  Art  Backgrounds 
and  Accessories 

We  are  in  business  to  paint  the  very  best  Back- 
grounds that  are  required  to  make  perfect  pictures, 
and  a Photographer’s  ambition  is  to  turn  out  the 
very  best  work  possible,  which  makes  our  interests 
mutual,  and  in  order  to  accomplish  this  it  is  nec- 
essary for  him  to  use  only  the  best  Backgrounds, 
which  are  correct  in  Drawing,  Perspective,  and 
Atmospheric  effect.  This  is  our  strongest  card. 


Advertisements  . 


XXI 


The 

Photographer 


No  other  Photographic  Journal  is 
SO  up-to-the-moment 
SO  well  printed 
SO  impartial 
SO  interesting 


as  The  Photographer.  It  has  features  entirely  its  own. 

The  Editor  of  Wilson's  Photographic  Magazines  says:  ‘‘The  Photographer 

is  a habit.” 

Jas.  F.  Smith,  of  Gainesville,  Fla.,  says:  “The  Photographer  is  just  the 

thing.  No  progressive  photographer  should  be  without  it,  and  especially  those  in 
small  towns.” 

Stein,  of  Milwaukee,  writes:  “Please  send  Nos.  and as  I wish 

to  keep  my  file  entact.” 

Giffin,  of  Wheeling,  W.  Va  , says:  “I  am  a constant  reader  of  The  Photo- 

grapher, and  am  free  to  say  that,  in  my  judgment,  it  fills  a long  felt  want,  inasmuch 
as  the  information  given  to  the  craftsman  is  always  interesting,  and  as  it  takes  a posi- 
tive stand  between  right  and  wrong.” 

We  could  quote  from  scores  of  other  prominent  photographers  to  the  same  effect. 

Become  one  of  the  big  family  of  “Photographer”  readers  and  be  as  up-to-date 
as  they  are. 


$2.00  per  Year— ^2  Issues 

THE  NATIONAL  PHOTOGRAPHER, 

30  West  13th  Street,  New  York. 


is  the 


American  Photographic  'Journal 


ISSUED  WEEKLY 


>:kl. 


i 


'■*  • rv.jt/v  ■A,  ,•■ 


V'' 

) 


y- 


I GETTY  CENTER  LIBRARY  CONS 

1 NH  740  M38  1905  BKS 

I c.  1 Marton,  A.  M.  (Alber 

A ne»  treatise  on  the  modern  methods  of 


3 3125  00350  0747 


